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Lovecraft, the early 1900s horror writer, is best known for his creation of the deity Cthulhu — a monster of great power who sleeps in the Pacific Ocean in the sunken city of R’lyeh.\u003c/p>\n\u003cp>Now, almost 100 years after its conception, Cthulhu is making a creepy comeback via a new crop of board games.\u003c/p>\n\u003cp>Lovecraft created Cthulhu, which is typically pronounced Ka-thu-lu, in his 1920s short story “\u003ca href=\"http://www.hplovecraft.com/writings/texts/fiction/cc.aspx\" target=\"_blank\" rel=\"noopener\">The Call of Cthulhu\u003c/a>.” In illustrations, the monster’s depiction has taken on a look similar to a mixture of the Kraken, the dragon from Shrek and Xenomorphs from \u003cem>Alien,\u003c/em> but with really great biceps.\u003c/p>\n\u003cp>In 1987, one of the first Lovecraft-themed board games, \u003ca href=\"https://www.fantasyflightgames.com/en/products/arkham-horror/\" target=\"_blank\" rel=\"noopener\">Arkham Horror\u003c/a>, popped up and became wildly popular. Between then and 1997, there was an average of less than one Lovecraft-themed game published each year — and that number didn’t budge until everything seemed to explode in 2014. That year and every year since, there have been over a dozen Lovecraft-themed board games released.\u003c/p>\n\u003cp>And in 2017, the most anticipated board game this year, \u003ca href=\"https://boardgamegeek.com/geeklist/217265/20-most-anticipated-games-2017-nominations-are-clo\" target=\"_blank\" rel=\"noopener\">according to Board Game Geek\u003c/a>, is a Cthulhu Wars expansion. Three of the other titles on the 20-game list are also takes on Lovecraft’s world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s impressive about this phenomenon is that after coming into pop culture, Cthulhu has taken over more than just board games: with \u003ca href=\"http://www.imdb.com/list/ls071029311/\" target=\"_blank\" rel=\"noopener\">movies\u003c/a>, \u003ca href=\"http://www.goodreads.com/genres/cthulhu-mythos\" target=\"_blank\" rel=\"noopener\">books\u003c/a>, a \u003ca href=\"https://cthulhuforamerica.com/\" target=\"_blank\" rel=\"noopener\">bid for the 2020 presidential election\u003c/a> (it gathered a couple of votes in \u003ca href=\"http://www.huffingtonpost.com/entry/cthulhu-for-president_us_574fba9ee4b0ed593f134933\" target=\"_blank\" rel=\"noopener\">2016\u003c/a>). You can even get a \u003ca href=\"https://itunes.apple.com/us/app/cthulhu-virtual-pet/id1042479814?mt=8\" target=\"_blank\" rel=\"noopener\">Cthulhu virtual pet\u003c/a> for your phone.\u003c/p>\n\u003cp>Chris Reardon, a fan of Lovecraft’s work and player of Lovecraft-themed games, is happy the author is emerging into the public light.\u003c/p>\n\u003cp>“I really like Lovecraft-themed board games because they are cooperative games,” Reardon says. And the “addition of his characters and his theme add a cool extra layer.”\u003c/p>\n\u003cp>He says Lovecraft would have loved seeing his works coming back and being collaborated on, because he collaborated with people a lot as a writer.\u003c/p>\n\u003cp>Justin Johns, who works for \u003ca href=\"http://www.labyrinthgameshop.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth Games and Puzzles\u003c/a> in Washington, D.C., has enjoyed his fair share of Lovecraft-themed board games. He said he became a fan of the games after reading some of Lovecraft’s work on a whim.\u003c/p>\n\u003cp>“I feel like [Lovecraft-themed games] have been a lot more prevalent in the last three or four years,” Johns says. “I do think there has been an uptick in the theme and interest in Cthulhu stuff. I think Lovecraft has always been around and is sort of a background to a lot of modern horror ideas — the idea that there are big scary things that man is not meant to know.”\u003c/p>\n\u003cp>But why the uptick, seemingly out of the blue (where Cthulhu resides) almost a century after its conception?\u003c/p>\n\u003cp>First, it could be the licensing issue. Some of Lovecraft’s works became public domain within the past decade, so it takes a lot less work for board game creators to use Cthulhu.\u003c/p>\n\u003cp>Second, crowdfunding sites became a haven to fund board game creators’ passion projects. The \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars?ref=nav_search\" target=\"_blank\" rel=\"noopener\">Cthulhu Wars Kickstarter\u003c/a> raised over $1.4 million. A \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars-onslaught-two?ref=nav_search\" target=\"_blank\" rel=\"noopener\">second printing\u003c/a> raised an additional $1 million.\u003c/p>\n\u003cp>But lots of things are public domain and don’t have nearly the uptick in consumer attention, and the increase in Lovecraft games funded on Kickstarter lines up with that of \u003ca href=\"https://fivethirtyeight.com/features/crowdfunding-is-driving-a-196-million-board-game-renaissance/\" target=\"_blank\" rel=\"noopener\">all board games\u003c/a> from the crowdfunding sites.\u003c/p>\n\u003cp>Many fans \u003ca href=\"https://www.reddit.com/r/boardgames/comments/4uhpgm/is_there_a_lovecraftian_board_games_revival/?st=j34xiogv&sh=38a7311f\" target=\"_blank\" rel=\"noopener\">argue\u003c/a> that it’s less of a revival and more of a bandwagon. As with zombies and pirates, once creators saw they could make money off the theme, they jumped on board.\u003c/p>\n\u003cp>Donovan Loucks, who is in charge of the H.P. Lovecraft \u003ca href=\"http://www.hplovecraft.com/\" target=\"_blank\" rel=\"noopener\">online archive\u003c/a>, speculated that game creators saw that some Lovecraft games were becoming popular, and once the licensing was released, realized they should take advantage of that market.\u003c/p>\n\u003cp>“I think it prompted a lot of people to say, ‘Hey, we can do Lovecraft too,’ ” says Loucks, who is also an avid board game fan.\u003c/p>\n\u003cp>One possible reason, Johns says, is that board games with cooperative play styles have increased in popularity and most games with a Lovecraft theme are just that — a group of players try to take down the big bad monster and save the world. It’s the players against the board.\u003c/p>\n\u003cp>“I think it’s really interesting to see all the different ways that people are interpreting the ideas of this big scary thing and all the different ways that it’s influenced different writing and games,” Johns says. “Even movies like the \u003cem>Alien\u003c/em> movies, this big scary thing, they go off into the unknown and they’re changed and killed by this unknown character. It echoes throughout the rest of our popular culture.”\u003c/p>\n\u003cp>What is actually different about Lovecraft is that in recent years, he underwent some \u003ca href=\"http://www.salon.com/2014/09/11/its_ok_to_admit_that_h_p_lovecraft_was_racist/\" target=\"_blank\" rel=\"noopener\">pretty intense\u003c/a>, \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/\" target=\"_blank\" rel=\"noopener\">public scrutiny\u003c/a> about racist letters to a friend depicting opinions on his Jewish, black, Italian, Portuguese and Asian peers. Lovecraft wrote that the “extra-legal measures such as lynching and intimidation” were “ingenious,” among other pretty deplorable quotes.\u003c/p>\n\u003cp>But these letters brought attention to Lovecraft’s work.\u003c/p>\n\u003cp>“Any press is good press, in a sense,” Loucks says. “Because of this, people are becoming more aware of him.”\u003c/p>\n\u003cp>Loucks says Lovecraft fans don’t really like Lovecraft the man, and some don’t even like his writing, which is much more detailed than that of other writers of his time. But the fans do love the creatures and monsters he created. So the thought in the Lovecraft community is that perhaps the bad press for his personal opinions brought his work to light, and intrigued people. Then, with it being in the public domain, they were free to use his work to create some of their own — in the form of board games.\u003c/p>\n\u003cp>Whatever the reason for Lovecraft’s rise to fame, one thing is certain: We are in the middle of a board game renaissance, and the deity of choice is Cthulhu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christianna Silva is an NPR Digital News intern.\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=H.P.+Lovecraft%27s+Monster+Is+Wrapping+Family+Game+Night+Up+In+Tentacles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A century after the horror writer created Cthulhu, board game creators and players have resurrected the deep sea monster and brought it into pop culture. Why is this beast making a comeback?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>H.P. Lovecraft, the early 1900s horror writer, is best known for his creation of the deity Cthulhu — a monster of great power who sleeps in the Pacific Ocean in the sunken city of R’lyeh.\u003c/p>\n\u003cp>Now, almost 100 years after its conception, Cthulhu is making a creepy comeback via a new crop of board games.\u003c/p>\n\u003cp>Lovecraft created Cthulhu, which is typically pronounced Ka-thu-lu, in his 1920s short story “\u003ca href=\"http://www.hplovecraft.com/writings/texts/fiction/cc.aspx\" target=\"_blank\" rel=\"noopener\">The Call of Cthulhu\u003c/a>.” In illustrations, the monster’s depiction has taken on a look similar to a mixture of the Kraken, the dragon from Shrek and Xenomorphs from \u003cem>Alien,\u003c/em> but with really great biceps.\u003c/p>\n\u003cp>In 1987, one of the first Lovecraft-themed board games, \u003ca href=\"https://www.fantasyflightgames.com/en/products/arkham-horror/\" target=\"_blank\" rel=\"noopener\">Arkham Horror\u003c/a>, popped up and became wildly popular. Between then and 1997, there was an average of less than one Lovecraft-themed game published each year — and that number didn’t budge until everything seemed to explode in 2014. That year and every year since, there have been over a dozen Lovecraft-themed board games released.\u003c/p>\n\u003cp>And in 2017, the most anticipated board game this year, \u003ca href=\"https://boardgamegeek.com/geeklist/217265/20-most-anticipated-games-2017-nominations-are-clo\" target=\"_blank\" rel=\"noopener\">according to Board Game Geek\u003c/a>, is a Cthulhu Wars expansion. Three of the other titles on the 20-game list are also takes on Lovecraft’s world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s impressive about this phenomenon is that after coming into pop culture, Cthulhu has taken over more than just board games: with \u003ca href=\"http://www.imdb.com/list/ls071029311/\" target=\"_blank\" rel=\"noopener\">movies\u003c/a>, \u003ca href=\"http://www.goodreads.com/genres/cthulhu-mythos\" target=\"_blank\" rel=\"noopener\">books\u003c/a>, a \u003ca href=\"https://cthulhuforamerica.com/\" target=\"_blank\" rel=\"noopener\">bid for the 2020 presidential election\u003c/a> (it gathered a couple of votes in \u003ca href=\"http://www.huffingtonpost.com/entry/cthulhu-for-president_us_574fba9ee4b0ed593f134933\" target=\"_blank\" rel=\"noopener\">2016\u003c/a>). You can even get a \u003ca href=\"https://itunes.apple.com/us/app/cthulhu-virtual-pet/id1042479814?mt=8\" target=\"_blank\" rel=\"noopener\">Cthulhu virtual pet\u003c/a> for your phone.\u003c/p>\n\u003cp>Chris Reardon, a fan of Lovecraft’s work and player of Lovecraft-themed games, is happy the author is emerging into the public light.\u003c/p>\n\u003cp>“I really like Lovecraft-themed board games because they are cooperative games,” Reardon says. And the “addition of his characters and his theme add a cool extra layer.”\u003c/p>\n\u003cp>He says Lovecraft would have loved seeing his works coming back and being collaborated on, because he collaborated with people a lot as a writer.\u003c/p>\n\u003cp>Justin Johns, who works for \u003ca href=\"http://www.labyrinthgameshop.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth Games and Puzzles\u003c/a> in Washington, D.C., has enjoyed his fair share of Lovecraft-themed board games. He said he became a fan of the games after reading some of Lovecraft’s work on a whim.\u003c/p>\n\u003cp>“I feel like [Lovecraft-themed games] have been a lot more prevalent in the last three or four years,” Johns says. “I do think there has been an uptick in the theme and interest in Cthulhu stuff. I think Lovecraft has always been around and is sort of a background to a lot of modern horror ideas — the idea that there are big scary things that man is not meant to know.”\u003c/p>\n\u003cp>But why the uptick, seemingly out of the blue (where Cthulhu resides) almost a century after its conception?\u003c/p>\n\u003cp>First, it could be the licensing issue. Some of Lovecraft’s works became public domain within the past decade, so it takes a lot less work for board game creators to use Cthulhu.\u003c/p>\n\u003cp>Second, crowdfunding sites became a haven to fund board game creators’ passion projects. The \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars?ref=nav_search\" target=\"_blank\" rel=\"noopener\">Cthulhu Wars Kickstarter\u003c/a> raised over $1.4 million. A \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars-onslaught-two?ref=nav_search\" target=\"_blank\" rel=\"noopener\">second printing\u003c/a> raised an additional $1 million.\u003c/p>\n\u003cp>But lots of things are public domain and don’t have nearly the uptick in consumer attention, and the increase in Lovecraft games funded on Kickstarter lines up with that of \u003ca href=\"https://fivethirtyeight.com/features/crowdfunding-is-driving-a-196-million-board-game-renaissance/\" target=\"_blank\" rel=\"noopener\">all board games\u003c/a> from the crowdfunding sites.\u003c/p>\n\u003cp>Many fans \u003ca href=\"https://www.reddit.com/r/boardgames/comments/4uhpgm/is_there_a_lovecraftian_board_games_revival/?st=j34xiogv&sh=38a7311f\" target=\"_blank\" rel=\"noopener\">argue\u003c/a> that it’s less of a revival and more of a bandwagon. As with zombies and pirates, once creators saw they could make money off the theme, they jumped on board.\u003c/p>\n\u003cp>Donovan Loucks, who is in charge of the H.P. Lovecraft \u003ca href=\"http://www.hplovecraft.com/\" target=\"_blank\" rel=\"noopener\">online archive\u003c/a>, speculated that game creators saw that some Lovecraft games were becoming popular, and once the licensing was released, realized they should take advantage of that market.\u003c/p>\n\u003cp>“I think it prompted a lot of people to say, ‘Hey, we can do Lovecraft too,’ ” says Loucks, who is also an avid board game fan.\u003c/p>\n\u003cp>One possible reason, Johns says, is that board games with cooperative play styles have increased in popularity and most games with a Lovecraft theme are just that — a group of players try to take down the big bad monster and save the world. It’s the players against the board.\u003c/p>\n\u003cp>“I think it’s really interesting to see all the different ways that people are interpreting the ideas of this big scary thing and all the different ways that it’s influenced different writing and games,” Johns says. “Even movies like the \u003cem>Alien\u003c/em> movies, this big scary thing, they go off into the unknown and they’re changed and killed by this unknown character. It echoes throughout the rest of our popular culture.”\u003c/p>\n\u003cp>What is actually different about Lovecraft is that in recent years, he underwent some \u003ca href=\"http://www.salon.com/2014/09/11/its_ok_to_admit_that_h_p_lovecraft_was_racist/\" target=\"_blank\" rel=\"noopener\">pretty intense\u003c/a>, \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/\" target=\"_blank\" rel=\"noopener\">public scrutiny\u003c/a> about racist letters to a friend depicting opinions on his Jewish, black, Italian, Portuguese and Asian peers. Lovecraft wrote that the “extra-legal measures such as lynching and intimidation” were “ingenious,” among other pretty deplorable quotes.\u003c/p>\n\u003cp>But these letters brought attention to Lovecraft’s work.\u003c/p>\n\u003cp>“Any press is good press, in a sense,” Loucks says. “Because of this, people are becoming more aware of him.”\u003c/p>\n\u003cp>Loucks says Lovecraft fans don’t really like Lovecraft the man, and some don’t even like his writing, which is much more detailed than that of other writers of his time. But the fans do love the creatures and monsters he created. So the thought in the Lovecraft community is that perhaps the bad press for his personal opinions brought his work to light, and intrigued people. Then, with it being in the public domain, they were free to use his work to create some of their own — in the form of board games.\u003c/p>\n\u003cp>Whatever the reason for Lovecraft’s rise to fame, one thing is certain: We are in the middle of a board game renaissance, and the deity of choice is Cthulhu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christianna Silva is an NPR Digital News intern.\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=H.P.+Lovecraft%27s+Monster+Is+Wrapping+Family+Game+Night+Up+In+Tentacles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Andrea Constand has said Bill Cosby drugged and assaulted her in 2004 while she was working for Temple University’s women’s basketball team. On Tuesday, in a Pennsylvania courtroom, she told her story publicly for the first time.\u003c/p>\n\u003cp>“In my head, I was trying to get my hands to move or my legs to move, but I was frozen,” Constand said, \u003ca href=\"https://apnews.com/5b019ff898da48d2a2bbbc2f1afeb321\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “I wasn’t able to fight in any way. … I wanted it to stop.”\u003c/p>\n\u003cp>Cosby, the 79-year-old comedian, is charged with sexually assaulting Constand in his home outside Philadelphia. According to the wire service, Constand was “calm and collected” while she testified and looked at the jury as she described the assault:\u003c/p>\n\u003cblockquote>\n\u003cp>“She said Cosby gave her pills he claimed were a natural remedy to ease her stress about a looming career change. ‘They’re your friends. They’ll take the edge off,’ she quoted him as saying.\u003c/p>\n\u003cp>“She told the jury she started feeling woozy after about 20 minutes, with blurred vision, slurred words and legs that felt like rubber. Cosby then [assaulted her], she said.\u003c/p>\n\u003cp>“She said she was unable to push him away or tell him to stop.\u003c/p>\n\u003cp>“Afterward, Constand said, ‘I felt really humiliated and I felt really confused.’\u003c/p>\n\u003cp>“Cosby, sitting across the room at the defense table, leaned in to listen, whispered to his lawyer and, at times, shook his head.”\u003c/p>\n\u003c/blockquote>\n\u003cp>According to WHYY reporter Laura Benshoff, \u003ca href=\"http://www.npr.org/2017/06/06/531794410/andrea-constand-testifies-in-bill-cosby-sexual-assault-trial\" target=\"_blank\" rel=\"noopener\">who spoke with\u003c/a> NPR’s \u003cem>All Things Considered\u003c/em>, Constand described meeting Cosby at a Temple basketball game, where he inquired about some facilities in the women’s locker room. Cosby became a mentor to Constand, and he would sometimes invite her to dinner at his house either alone or with others.\u003c/p>\n\u003cp>Benshoff says Constand testified that on a previous occasion, Cosby tried to unzip her pants, but she rejected the advance and said, “I’m not here for that. I don’t want that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The defense has highlighted phone records showing that Constand called Cosby 53 times after she says he assaulted her, the AP reports. Constand said the calls mostly concerned the women’s basketball team.\u003c/p>\n\u003cp>“It had more to do with business than it did with me personally,” she said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/05/22/529467030/jury-selection-to-begin-in-bill-cosbys-criminal-trial\" target=\"_blank\" rel=\"noopener\">More than 50 women\u003c/a> have said Cosby assaulted them, but the statute of limitations has run out in nearly all cases. Only in Constand’s case has Cosby been charged.\u003c/p>\n\u003cp>Cosby \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-bill-cosby-1494946826-htmlstory.html\" target=\"_blank\" rel=\"noopener\">said in a recent interview\u003c/a> that he won’t testify.\u003c/p>\n\u003cp>The mostly white jury is composed of seven men and five women, \u003ca href=\"http://www.npr.org/2017/06/05/531629239/bill-cosbys-sexual-assault-trial-begins-in-suburban-philadelphia-courtroom\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> WHYY’s Bobby Allyn. On Monday, the first day of the trial, prosecutor Kristen Feden asked jurors not to let memories of Cosby as a TV actor and comedian cloud their judgment of what happened to Constand 13 years ago.\u003c/p>\n\u003cp>The defense attorney, on the other hand, asked jurors to “be the juror you would be if this was your own grandfather,” Allyn reports, and pointed to apparent inconsistencies in Constand’s statements to suggest that she couldn’t be trusted.\u003c/p>\n\u003cp>In Monday’s testimony, a woman identified as “Victim No. 6” described being drugged and sexually molested by Cosby. Allyn reports that the woman was subjected to a tough cross-examination by Cosby’s attorney, who attempted to show that her memory was incorrect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The judge in the case has \u003ca href=\"http://www.npr.org/2017/06/04/531444438/no-cameras-no-phones-you-cant-watch-bill-cosbys-high-profile-trial\">forbidden cameras in the courtroom\u003c/a>, and reporters must turn off their phones throughout the proceedings. \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=Bill+Cosby%27s+Accuser+Takes+The+Stand+In+Sexual+Assault+Trial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrea Constand has said Bill Cosby drugged and assaulted her in 2004 while she was working for Temple University’s women’s basketball team. On Tuesday, in a Pennsylvania courtroom, she told her story publicly for the first time.\u003c/p>\n\u003cp>“In my head, I was trying to get my hands to move or my legs to move, but I was frozen,” Constand said, \u003ca href=\"https://apnews.com/5b019ff898da48d2a2bbbc2f1afeb321\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “I wasn’t able to fight in any way. … I wanted it to stop.”\u003c/p>\n\u003cp>Cosby, the 79-year-old comedian, is charged with sexually assaulting Constand in his home outside Philadelphia. According to the wire service, Constand was “calm and collected” while she testified and looked at the jury as she described the assault:\u003c/p>\n\u003cblockquote>\n\u003cp>“She said Cosby gave her pills he claimed were a natural remedy to ease her stress about a looming career change. ‘They’re your friends. They’ll take the edge off,’ she quoted him as saying.\u003c/p>\n\u003cp>“She told the jury she started feeling woozy after about 20 minutes, with blurred vision, slurred words and legs that felt like rubber. Cosby then [assaulted her], she said.\u003c/p>\n\u003cp>“She said she was unable to push him away or tell him to stop.\u003c/p>\n\u003cp>“Afterward, Constand said, ‘I felt really humiliated and I felt really confused.’\u003c/p>\n\u003cp>“Cosby, sitting across the room at the defense table, leaned in to listen, whispered to his lawyer and, at times, shook his head.”\u003c/p>\n\u003c/blockquote>\n\u003cp>According to WHYY reporter Laura Benshoff, \u003ca href=\"http://www.npr.org/2017/06/06/531794410/andrea-constand-testifies-in-bill-cosby-sexual-assault-trial\" target=\"_blank\" rel=\"noopener\">who spoke with\u003c/a> NPR’s \u003cem>All Things Considered\u003c/em>, Constand described meeting Cosby at a Temple basketball game, where he inquired about some facilities in the women’s locker room. Cosby became a mentor to Constand, and he would sometimes invite her to dinner at his house either alone or with others.\u003c/p>\n\u003cp>Benshoff says Constand testified that on a previous occasion, Cosby tried to unzip her pants, but she rejected the advance and said, “I’m not here for that. I don’t want that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The defense has highlighted phone records showing that Constand called Cosby 53 times after she says he assaulted her, the AP reports. Constand said the calls mostly concerned the women’s basketball team.\u003c/p>\n\u003cp>“It had more to do with business than it did with me personally,” she said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/05/22/529467030/jury-selection-to-begin-in-bill-cosbys-criminal-trial\" target=\"_blank\" rel=\"noopener\">More than 50 women\u003c/a> have said Cosby assaulted them, but the statute of limitations has run out in nearly all cases. Only in Constand’s case has Cosby been charged.\u003c/p>\n\u003cp>Cosby \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-bill-cosby-1494946826-htmlstory.html\" target=\"_blank\" rel=\"noopener\">said in a recent interview\u003c/a> that he won’t testify.\u003c/p>\n\u003cp>The mostly white jury is composed of seven men and five women, \u003ca href=\"http://www.npr.org/2017/06/05/531629239/bill-cosbys-sexual-assault-trial-begins-in-suburban-philadelphia-courtroom\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> WHYY’s Bobby Allyn. On Monday, the first day of the trial, prosecutor Kristen Feden asked jurors not to let memories of Cosby as a TV actor and comedian cloud their judgment of what happened to Constand 13 years ago.\u003c/p>\n\u003cp>The defense attorney, on the other hand, asked jurors to “be the juror you would be if this was your own grandfather,” Allyn reports, and pointed to apparent inconsistencies in Constand’s statements to suggest that she couldn’t be trusted.\u003c/p>\n\u003cp>In Monday’s testimony, a woman identified as “Victim No. 6” described being drugged and sexually molested by Cosby. Allyn reports that the woman was subjected to a tough cross-examination by Cosby’s attorney, who attempted to show that her memory was incorrect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The judge in the case has \u003ca href=\"http://www.npr.org/2017/06/04/531444438/no-cameras-no-phones-you-cant-watch-bill-cosbys-high-profile-trial\">forbidden cameras in the courtroom\u003c/a>, and reporters must turn off their phones throughout the proceedings. \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=Bill+Cosby%27s+Accuser+Takes+The+Stand+In+Sexual+Assault+Trial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Worthy Big-Screen Treatment Of A Long-Neglected 'Wonder Woman'",
"headTitle": "A Worthy Big-Screen Treatment Of A Long-Neglected ‘Wonder Woman’ | KQED",
"content": "\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\u003c/p>\n\u003cp>https://youtu.be/VSB4wGIdDwo\u003c/p>\n\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\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/VSB4wGIdDwo'\n title='//www.youtube.com/embed/VSB4wGIdDwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remember That Time When Wonder Woman Was a U.N. Ambassador?",
"headTitle": "Remember That Time When Wonder Woman Was a U.N. Ambassador? | KQED",
"content": "\u003cp>Wonder Woman is certainly basking in accolades these days.\u003c/p>\n\u003cp>The new movie starring Gal Gadot is being widely praised for finally giving the world a big-screen female superhero who — to quote just a few of the glowing reviews — is both “awesomely fierce” and “surprisingly funny,” “sexually aware without being sexualized” and a refreshing throwback to the days of “uncomplicated role models … fighting for peace and justice.”\u003c/p>\n\u003cp>All of which got us thinking about our coverage last fall of Wonder Woman’s short-lived tenure as the United Nation’s honorary ambassador for the empowerment of women of girls.\u003c/p>\n\u003cp>Remember that episode? Back then her reviews were decidedly more mixed.\u003c/p>\n\u003cp>The idea was to make the character of Wonder Woman the face of a U.N. social media campaign to promote women’s rights via tweets and Facebook callouts. Women’s rights advocates exploded in outrage, and nearly 45,000 people signed a petition against the decision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s an insult, frankly,” said \u003ca href=\"http://www.sps.nyu.edu/content/scps/faculty/faculty-profile.html?id=15655&name=Anne%20Marie-Goetz\" target=\"_blank\" rel=\"noopener\">Anne Marie Goetz\u003c/a> at the time. Goetz, a professor of global affairs at New York University and a former adviser on peace and security issues to the United Nations agency, U.N. Women, said a big issue was the timing.\u003c/p>\n\u003cfigure id=\"attachment_13350614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg\" alt=\"Wonder Woman on the cover of Sensation Comics\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13350614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d.jpg 949w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman on the cover of Sensation Comics\u003c/figcaption>\u003c/figure>\n\u003cp>The Wonder Woman campaign rollout — a collaboration with Warner Bros. and DC Comics, which owns the rights to the character — was intended to celebrate both the character’s 75th birthday and the upcoming movie featuring Gadot. The actress even attended the appointment ceremony at the U.N.’s New York headquarters, along with Lynda Carter, who portrayed the superhero in the 1970s television show. But the announcement also came on the heels of a disappointing, yearlong grass-roots effort to get the U.N. to choose its first female secretary-general.\u003c/p>\n\u003cp>“This was months and months of campaigning by feminist organizations around the world for a woman to be selected,” said Goetz.\u003c/p>\n\u003cp>Seven women — including a prime minister and other highly qualified individuals — were in the running, an unprecedented number. Ultimately the Security Council went with a man — Antonio Guterres. So at the time, the selection of Wonder Woman to represent women’s issues for the U.N. came off to Goetz and others as a sort of demeaning consolation prize.\u003c/p>\n\u003cp>“It’s frivolous, it’s fatuous and it reduces an extremely serious human rights problem experienced by half of the world to a cartoon,” she said.\u003c/p>\n\u003cp>And not just any cartoon, added Goetz. Wonder Woman in her view was tantamount to a Barbie/Playboy pinup. Like most female comic action figures, she has big breasts bursting out of a skimpy outfit and an impossibly tiny waist.\u003c/p>\n\u003cp>“The message to girls is that you are expected to meet a male standard in which your significance is reduced to your role as a sexual object,” said Goetz.\u003c/p>\n\u003cp>Maher Nasser, the U.N. official who essentially brokered Wonder Woman’s appointment, responded at the time that he and other U.N. colleagues had considered those concerns.\u003c/p>\n\u003cp>“I mean we have had these discussions, of course, with our partners,” said Nasser, who directs the Outreach Division of the U.N.’s Department of Public Information, which handles partnerships with celebrities and entertainment figures.\u003c/p>\n\u003cp>And Nasser noted that his team worked closely with artists at DC Comics to tone down the image that was used in the U.N. campaign.\u003c/p>\n\u003cp>“The campaign art that we are working with … doesn’t have that caricature image of the wrong stereotype of what a woman should look like,” he said.\u003c/p>\n\u003cp>For instance they only showed Wonder Woman from the waist up. And they gave her a cape draped round her neck and shoulders, making her bust less prominent.\u003c/p>\n\u003cp>Nasser also said the social media campaign was all about emphasizing Wonder Woman’s girl power credentials, what he called “the essence of the character.”\u003c/p>\n\u003cp>“The focus [of the U.N.] was on her feminist background, being the first female superhero in a world of male superheroes and that basically she always fought for fairness, justice and peace,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13350615\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg\" alt=\"Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, 'Ms.' magazine put her on the cover\" width=\"434\" height=\"325\" class=\"size-full wp-image-13350615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-375x281.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, ‘Ms.’ magazine put her on the cover\u003c/figcaption>\u003c/figure>\n\u003cp>Nasser said he expected the campaign to last well into 2017. But less than two months later, with little fanfare, U.N. officials announced that Wonder Woman’s U.N. career was coming to a close, adding that, actually, they had always intended it to be brief.\u003c/p>\n\u003cp>Jill Lepore, a professor at Harvard University who wrote a book, \u003ca href=\"https://www.amazon.com/Secret-History-Wonder-Woman/dp/0804173400\" target=\"_blank\" rel=\"noopener\">The Secret History of Wonder Woman\u003c/a>\u003cem>,\u003c/em>\u003cem> \u003c/em>about the comic book character’s creation, said disputes like this have long dogged Wonder Woman.\u003c/p>\n\u003cp>On one hand, said Lepore, the character has solid feminist roots. She was invented in 1941 by William Moulton Marston, a Harvard-trained Ph.D. psychologist-cum-advice columnist for \u003cem>Family Circle\u003c/em> magazine. Marston had been brought on board by the company that eventually became DC Comics to help deal with a public relations problem.\u003c/p>\n\u003cp>The company’s first two superheroes, created in the late 1930s, had become controversial. “Superman looked a bit like a fascist — he’s an ubermensch. Batman carried a gun and was quite violent,” explained Lepore.\u003c/p>\n\u003cp>It had gotten to the point where various religious and parental groups had banned the comics.\u003c/p>\n\u003cp>According to Lapore, “Marston said, ‘You know, you need a female superhero because she will embody the nurturing values of womanhood. She will be about peace not war.'”\u003c/p>\n\u003cp>The character he set about creating drew largely on a real-life woman Marston knew personally and greatly admired: Margaret Sanger, the co-founder of Planned Parenthood.\u003c/p>\n\u003cp>In the comic book — and now in the new movie — Wonder Woman is a princess of the Amazons of Greek mythology, living on an island where there are no men. That story, said Lepore, “comes not from science fiction but from feminist utopian fiction” popular with Sanger and other early feminists of the progressive era. (The cartoon then introduced the character of a U.S. Army officer, Capt. Steve Trevor, who crash lands on the island. Wonder Woman rescues him and then resolves to go with him to America to fight for democracy and equal rights.)\u003c/p>\n\u003cp>Marston had an ambitious vision for his new character, laid out in a remarkable press release, distributed soon after her debut. He stated: “The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity. He added, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.”\u003c/p>\n\u003cp>Yet even in those earliest years Wonder Woman embodied contradictions. It wasn’t just the risqué outfits. Marston insisted that in every episode Wonder Woman had to be tied up or otherwise bound by the villain.\u003c/p>\n\u003cp>In part, said Lepore, this was a nod to the iconography of the suffragettes of the early 1900s, who often wore chains on marches seeking the right to vote. But it also became clear from letters to DC Comics that Wonder Woman’s largely male audience found this aspect of her story titillating.\u003c/p>\n\u003cp>And last fall, that bondage theme — at a time when women are under threat from extremist violence around the world — was just one more reason activists like Goetz were uncomfortable with the idea of Wonder Woman as a U.N. ambassador.\u003c/p>\n\u003cp>Wonder Woman nonetheless remained a darling of feminists through the 1970s — she was on the first cover of \u003cem>Ms.\u003c/em> magazine. But by the end of that decade she had started to symbolize a split within the feminist movement.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“A lot of people started to say, ‘Why is she the symbol of women’s power? She’s just so obviously made for men to look at and ogle,'” said Lepore. So it’s no surprise that she continues to raise conflicting feelings to this day. “Part of the richness of this character is that there are many layers to understanding her. Wonder Woman is always going to have a mixed legacy.” \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=Remember+That+Time+When+Wonder+Woman+Was+A+U.N.+Ambassador%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wonder Woman is certainly basking in accolades these days.\u003c/p>\n\u003cp>The new movie starring Gal Gadot is being widely praised for finally giving the world a big-screen female superhero who — to quote just a few of the glowing reviews — is both “awesomely fierce” and “surprisingly funny,” “sexually aware without being sexualized” and a refreshing throwback to the days of “uncomplicated role models … fighting for peace and justice.”\u003c/p>\n\u003cp>All of which got us thinking about our coverage last fall of Wonder Woman’s short-lived tenure as the United Nation’s honorary ambassador for the empowerment of women of girls.\u003c/p>\n\u003cp>Remember that episode? Back then her reviews were decidedly more mixed.\u003c/p>\n\u003cp>The idea was to make the character of Wonder Woman the face of a U.N. social media campaign to promote women’s rights via tweets and Facebook callouts. Women’s rights advocates exploded in outrage, and nearly 45,000 people signed a petition against the decision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s an insult, frankly,” said \u003ca href=\"http://www.sps.nyu.edu/content/scps/faculty/faculty-profile.html?id=15655&name=Anne%20Marie-Goetz\" target=\"_blank\" rel=\"noopener\">Anne Marie Goetz\u003c/a> at the time. Goetz, a professor of global affairs at New York University and a former adviser on peace and security issues to the United Nations agency, U.N. Women, said a big issue was the timing.\u003c/p>\n\u003cfigure id=\"attachment_13350614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg\" alt=\"Wonder Woman on the cover of Sensation Comics\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13350614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d.jpg 949w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman on the cover of Sensation Comics\u003c/figcaption>\u003c/figure>\n\u003cp>The Wonder Woman campaign rollout — a collaboration with Warner Bros. and DC Comics, which owns the rights to the character — was intended to celebrate both the character’s 75th birthday and the upcoming movie featuring Gadot. The actress even attended the appointment ceremony at the U.N.’s New York headquarters, along with Lynda Carter, who portrayed the superhero in the 1970s television show. But the announcement also came on the heels of a disappointing, yearlong grass-roots effort to get the U.N. to choose its first female secretary-general.\u003c/p>\n\u003cp>“This was months and months of campaigning by feminist organizations around the world for a woman to be selected,” said Goetz.\u003c/p>\n\u003cp>Seven women — including a prime minister and other highly qualified individuals — were in the running, an unprecedented number. Ultimately the Security Council went with a man — Antonio Guterres. So at the time, the selection of Wonder Woman to represent women’s issues for the U.N. came off to Goetz and others as a sort of demeaning consolation prize.\u003c/p>\n\u003cp>“It’s frivolous, it’s fatuous and it reduces an extremely serious human rights problem experienced by half of the world to a cartoon,” she said.\u003c/p>\n\u003cp>And not just any cartoon, added Goetz. Wonder Woman in her view was tantamount to a Barbie/Playboy pinup. Like most female comic action figures, she has big breasts bursting out of a skimpy outfit and an impossibly tiny waist.\u003c/p>\n\u003cp>“The message to girls is that you are expected to meet a male standard in which your significance is reduced to your role as a sexual object,” said Goetz.\u003c/p>\n\u003cp>Maher Nasser, the U.N. official who essentially brokered Wonder Woman’s appointment, responded at the time that he and other U.N. colleagues had considered those concerns.\u003c/p>\n\u003cp>“I mean we have had these discussions, of course, with our partners,” said Nasser, who directs the Outreach Division of the U.N.’s Department of Public Information, which handles partnerships with celebrities and entertainment figures.\u003c/p>\n\u003cp>And Nasser noted that his team worked closely with artists at DC Comics to tone down the image that was used in the U.N. campaign.\u003c/p>\n\u003cp>“The campaign art that we are working with … doesn’t have that caricature image of the wrong stereotype of what a woman should look like,” he said.\u003c/p>\n\u003cp>For instance they only showed Wonder Woman from the waist up. And they gave her a cape draped round her neck and shoulders, making her bust less prominent.\u003c/p>\n\u003cp>Nasser also said the social media campaign was all about emphasizing Wonder Woman’s girl power credentials, what he called “the essence of the character.”\u003c/p>\n\u003cp>“The focus [of the U.N.] was on her feminist background, being the first female superhero in a world of male superheroes and that basically she always fought for fairness, justice and peace,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13350615\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg\" alt=\"Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, 'Ms.' magazine put her on the cover\" width=\"434\" height=\"325\" class=\"size-full wp-image-13350615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-375x281.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, ‘Ms.’ magazine put her on the cover\u003c/figcaption>\u003c/figure>\n\u003cp>Nasser said he expected the campaign to last well into 2017. But less than two months later, with little fanfare, U.N. officials announced that Wonder Woman’s U.N. career was coming to a close, adding that, actually, they had always intended it to be brief.\u003c/p>\n\u003cp>Jill Lepore, a professor at Harvard University who wrote a book, \u003ca href=\"https://www.amazon.com/Secret-History-Wonder-Woman/dp/0804173400\" target=\"_blank\" rel=\"noopener\">The Secret History of Wonder Woman\u003c/a>\u003cem>,\u003c/em>\u003cem> \u003c/em>about the comic book character’s creation, said disputes like this have long dogged Wonder Woman.\u003c/p>\n\u003cp>On one hand, said Lepore, the character has solid feminist roots. She was invented in 1941 by William Moulton Marston, a Harvard-trained Ph.D. psychologist-cum-advice columnist for \u003cem>Family Circle\u003c/em> magazine. Marston had been brought on board by the company that eventually became DC Comics to help deal with a public relations problem.\u003c/p>\n\u003cp>The company’s first two superheroes, created in the late 1930s, had become controversial. “Superman looked a bit like a fascist — he’s an ubermensch. Batman carried a gun and was quite violent,” explained Lepore.\u003c/p>\n\u003cp>It had gotten to the point where various religious and parental groups had banned the comics.\u003c/p>\n\u003cp>According to Lapore, “Marston said, ‘You know, you need a female superhero because she will embody the nurturing values of womanhood. She will be about peace not war.'”\u003c/p>\n\u003cp>The character he set about creating drew largely on a real-life woman Marston knew personally and greatly admired: Margaret Sanger, the co-founder of Planned Parenthood.\u003c/p>\n\u003cp>In the comic book — and now in the new movie — Wonder Woman is a princess of the Amazons of Greek mythology, living on an island where there are no men. That story, said Lepore, “comes not from science fiction but from feminist utopian fiction” popular with Sanger and other early feminists of the progressive era. (The cartoon then introduced the character of a U.S. Army officer, Capt. Steve Trevor, who crash lands on the island. Wonder Woman rescues him and then resolves to go with him to America to fight for democracy and equal rights.)\u003c/p>\n\u003cp>Marston had an ambitious vision for his new character, laid out in a remarkable press release, distributed soon after her debut. He stated: “The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity. He added, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.”\u003c/p>\n\u003cp>Yet even in those earliest years Wonder Woman embodied contradictions. It wasn’t just the risqué outfits. Marston insisted that in every episode Wonder Woman had to be tied up or otherwise bound by the villain.\u003c/p>\n\u003cp>In part, said Lepore, this was a nod to the iconography of the suffragettes of the early 1900s, who often wore chains on marches seeking the right to vote. But it also became clear from letters to DC Comics that Wonder Woman’s largely male audience found this aspect of her story titillating.\u003c/p>\n\u003cp>And last fall, that bondage theme — at a time when women are under threat from extremist violence around the world — was just one more reason activists like Goetz were uncomfortable with the idea of Wonder Woman as a U.N. ambassador.\u003c/p>\n\u003cp>Wonder Woman nonetheless remained a darling of feminists through the 1970s — she was on the first cover of \u003cem>Ms.\u003c/em> magazine. But by the end of that decade she had started to symbolize a split within the feminist movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of people started to say, ‘Why is she the symbol of women’s power? She’s just so obviously made for men to look at and ogle,'” said Lepore. So it’s no surprise that she continues to raise conflicting feelings to this day. “Part of the richness of this character is that there are many layers to understanding her. Wonder Woman is always going to have a mixed legacy.” \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=Remember+That+Time+When+Wonder+Woman+Was+A+U.N.+Ambassador%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2nd Noose Found in D.C., This Time at African-American History Museum",
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"headTitle": "2nd Noose Found in D.C., This Time at African-American History Museum | KQED",
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"content": "\u003cp>Visitors found a noose Wednesday at an exhibition on segregation at the National Museum of African American History and Culture in Washington, D.C. — the second time in less than a week that a noose was found on Smithsonian grounds.\u003c/p>\n\u003cp>The incident “is a painful reminder of the challenges that African-Americans continue to face,” the museum’s founding director, Lonnie Bunch, said in a \u003ca href=\"https://twitter.com/NMAAHC/status/870044676967084033\">statement\u003c/a>. “The noose has long represented a deplorable act of cowardice and depravity — a symbol of extreme violence for African-Americans.”\u003c/p>\n\u003cp>David Skorton, secretary of the Smithsonian Institution, condemned what he called an “act of hatred and intolerance, especially repugnant in a museum that affirms and celebrates the American values of inclusion and diversity.” In the institutionwide email reported by \u003cem>Smithsonian\u003c/em> magazine, Skorton \u003ca href=\"http://www.smithsonianmag.com/smithsonian-institution/noose-found-national-museum-african-american-history-and-culture-180963519/\" target=\"_blank\" rel=\"noopener\">added\u003c/a>, “We will not be intimidated.”\u003c/p>\n\u003cp>After U.S. Park Police came to investigate the incident, they removed the noose and the exhibition reopened within a few hours, the\u003cem> \u003c/em>magazine reports.\u003c/p>\n\u003cp>The police did not respond to NPR’s request for comment about the ongoing investigation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five days earlier, police found a noose hanging from a tree near the Hirshhorn Museum, less than a mile away.\u003c/p>\n\u003cp>The Southern Poverty Law Center tracks hate incidents and says they’re on the rise.\u003c/p>\n\u003cp>In mid-May, two 19-year-old men were arrested and charged in connection with a noose found hanging in front of a middle school in Crofton, Md., \u003ca href=\"https://www.washingtonpost.com/local/public-safety/two-md-men-charged-charges-after-noose-found-at-md-middle-school/2017/05/12/d501888e-3765-11e7-b4ee-434b6d506b37_story.html?utm_term=.bcd04660f6b8\" target=\"_blank\" rel=\"noopener\">reports The Washington Post\u003c/a>.\u003c/p>\n\u003cp>And \u003ca href=\"http://sanfrancisco.cbslocal.com/2017/05/25/port-oakland-longshoremen-walkout-over-nooses/\" target=\"_blank\" rel=\"noopener\">KPIX News\u003c/a> says longshoremen walked off the job for a few hours on May 25 at the Port of Oakland in California, after nooses were found there a few weeks earlier.\u003c/p>\n\u003cp>“We’ve never had reports like this ever,” says Southern Poverty Law Center Spokesman Ryan Lenz. He tells NPR that hate incidents — including bomb threats to religious institutions, racist graffiti and white nationalist flyers — have spiked in the aftermath of the 2016 presidential election.\u003c/p>\n\u003cp>“We never counted them before because they were so staggered,” says Lenz.\u003c/p>\n\u003cp>In the three months between Election Day and first week of February, the center has \u003ca href=\"https://www.splcenter.org/hatewatch/2017/02/10/post-election-bias-incidents-1372-new-collaboration-propublica\">tracked\u003c/a> more than 1,300 reports of bias incidents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are in a moment where hate and extremism have been legitimized in the public sphere,” says Lenz. “During times like this, it is more important than ever for individual citizens across the country to voice their opposition to the acceptance of this behavior as standard operating procedure.” \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=2nd+Noose+Found+In+D.C.%2C+This+Time+At+African-American+History+Museum+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Museum visitors discovered the noose Wednesday, less than a week after police found another one hanging from a tree near the Hirshhorn Museum, which is also on the National Mall.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visitors found a noose Wednesday at an exhibition on segregation at the National Museum of African American History and Culture in Washington, D.C. — the second time in less than a week that a noose was found on Smithsonian grounds.\u003c/p>\n\u003cp>The incident “is a painful reminder of the challenges that African-Americans continue to face,” the museum’s founding director, Lonnie Bunch, said in a \u003ca href=\"https://twitter.com/NMAAHC/status/870044676967084033\">statement\u003c/a>. “The noose has long represented a deplorable act of cowardice and depravity — a symbol of extreme violence for African-Americans.”\u003c/p>\n\u003cp>David Skorton, secretary of the Smithsonian Institution, condemned what he called an “act of hatred and intolerance, especially repugnant in a museum that affirms and celebrates the American values of inclusion and diversity.” In the institutionwide email reported by \u003cem>Smithsonian\u003c/em> magazine, Skorton \u003ca href=\"http://www.smithsonianmag.com/smithsonian-institution/noose-found-national-museum-african-american-history-and-culture-180963519/\" target=\"_blank\" rel=\"noopener\">added\u003c/a>, “We will not be intimidated.”\u003c/p>\n\u003cp>After U.S. Park Police came to investigate the incident, they removed the noose and the exhibition reopened within a few hours, the\u003cem> \u003c/em>magazine reports.\u003c/p>\n\u003cp>The police did not respond to NPR’s request for comment about the ongoing investigation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five days earlier, police found a noose hanging from a tree near the Hirshhorn Museum, less than a mile away.\u003c/p>\n\u003cp>The Southern Poverty Law Center tracks hate incidents and says they’re on the rise.\u003c/p>\n\u003cp>In mid-May, two 19-year-old men were arrested and charged in connection with a noose found hanging in front of a middle school in Crofton, Md., \u003ca href=\"https://www.washingtonpost.com/local/public-safety/two-md-men-charged-charges-after-noose-found-at-md-middle-school/2017/05/12/d501888e-3765-11e7-b4ee-434b6d506b37_story.html?utm_term=.bcd04660f6b8\" target=\"_blank\" rel=\"noopener\">reports The Washington Post\u003c/a>.\u003c/p>\n\u003cp>And \u003ca href=\"http://sanfrancisco.cbslocal.com/2017/05/25/port-oakland-longshoremen-walkout-over-nooses/\" target=\"_blank\" rel=\"noopener\">KPIX News\u003c/a> says longshoremen walked off the job for a few hours on May 25 at the Port of Oakland in California, after nooses were found there a few weeks earlier.\u003c/p>\n\u003cp>“We’ve never had reports like this ever,” says Southern Poverty Law Center Spokesman Ryan Lenz. He tells NPR that hate incidents — including bomb threats to religious institutions, racist graffiti and white nationalist flyers — have spiked in the aftermath of the 2016 presidential election.\u003c/p>\n\u003cp>“We never counted them before because they were so staggered,” says Lenz.\u003c/p>\n\u003cp>In the three months between Election Day and first week of February, the center has \u003ca href=\"https://www.splcenter.org/hatewatch/2017/02/10/post-election-bias-incidents-1372-new-collaboration-propublica\">tracked\u003c/a> more than 1,300 reports of bias incidents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are in a moment where hate and extremism have been legitimized in the public sphere,” says Lenz. “During times like this, it is more important than ever for individual citizens across the country to voice their opposition to the acceptance of this behavior as standard operating procedure.” \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=2nd+Noose+Found+In+D.C.%2C+This+Time+At+African-American+History+Museum+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For a Few Hours, a Sculpted Dog was Urinating on the 'Fearless Girl'",
"headTitle": "For a Few Hours, a Sculpted Dog was Urinating on the ‘Fearless Girl’ | KQED",
"content": "\u003cp>For a few hours Monday, the bitter face-off between a bull and a girl in New York City got a curious, four-legged interloper: a tiny pug, with one of those legs suggestively raised beside the girl’s leg. There was no urine, no caustic caption, but it was clear where the dog’s disdain was directed.\u003c/p>\n\u003cp>The statue’s placement by sculptor Alex Gardega marks an odd, if brief, digression in a contentious chapter that’s been unfolding off Wall Street for months. It was there that the financial district’s nearly three-decade-old \u003cem>Charging Bull\u003c/em> confronted a new arrival earlier this year: the statue of a defiant girl, hands placed firmly on hips and chin thrust forward against the bull’s implied threat.\u003c/p>\n\u003cp>The artist behind the bull, Arturo Di Modico, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/12/523592057/sculptor-of-wall-street-bull-says-fearless-girl-horns-in-on-his-work\" target=\"_blank\" rel=\"noopener\">has not appreciated\u003c/a> the installation of \u003cem>Fearless Girl\u003c/em>, a work designed by Kristen Visbal and commissioned by an international investment firm State Street Global Advisors.\u003c/p>\n\u003cp>The firm says it intended the girl as a means to “to \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/enhancing-gender-diversity-on-boards-emea.html\" target=\"_blank\" rel=\"noopener\">raise awareness and drive a conversation\u003c/a> around the need to improve gender diversity in corporate leadership roles.” Di Modico, however, feels the new statue mutates his long-celebrated bull into a villain for the sake of \u003ca href=\"http://www.marketwatch.com/story/wall-street-bull-artist-calls-bs-on-fearless-girl-statue-2017-03-20\" target=\"_blank\" rel=\"noopener\">“an advertising trick.”\u003c/a>\u003c/p>\n\u003cp>If his disdainful pug wasn’t indication enough, Gardega made clear to \u003ca href=\"http://www.nbcnewyork.com/news/local/Peeing-Dog-Statue-Takes-Aim-at-Fearless-Girl-Report-425226224.html\" target=\"_blank\" rel=\"noopener\">NBC News’ affiliate in New York\u003c/a> which side of the dispute he is on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I have a lot of empathy for the creator of the bull, Arturo,” Gardega told NBC on Tuesday. “I’m a pretty happy person, not seething or angry and certainly not anti-feminist. My piece is not without a sense of humor. There is plenty of room for \u003cem>Fearless Girl\u003c/em>; it just interferes with another artists work/vision.”\u003c/p>\n\u003cp>In an \u003ca href=\"http://nypost.com/2017/05/29/pissed-off-artist-adds-statue-of-urinating-dog-next-to-fearless-girl/\" target=\"_blank\" rel=\"noopener\">interview with the New York Post\u003c/a>, he called \u003cem>Fearless Girl\u003c/em> — which recently had its temporary permit renewed by the city through 2018 — “corporate nonsense.”\u003c/p>\n\u003cp>“It has nothing to do with feminism, and it is disrespect to the artist that made the bull,” he said.\u003c/p>\n\u003cp>Visbal did not immediately make a public comment about the dog’s placement.\u003c/p>\n\u003cp>If nothing else, Gardena’s pug joins a tradition of imposition established by the two statues it briefly came between: \u003cem>Fearless Girl\u003c/em> was set up overnight opposite the \u003cem>Charging Bull\u003c/em> against the wishes of Di Modico — who, in turn, initially set up his own bull overnight outside the New York Stock Exchange in the late 1980s, also against that institution’s wishes.\u003c/p>\n\u003cp>As one might imagine, though, the dog did little to ease the dispute. A quick glance at Twitter confirms the inflamed frustrations on either side.\u003c/p>\n\u003cp>At any rate, the little dog is gone now, picked up after several hours by Gardega since, as he tells NBC, he “certainly had no rights to bolt it to the ground.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The bitter face-off between Di Modica and the \u003cem>Fearless Girl\u003c/em>‘s many defenders, though — that remains standing as firmly as the two statues themselves. \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=For+A+Few+Hours%2C+A+Sculpted+Dog+Was+Urinating+On+The+%27Fearless+Girl%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a few hours Monday, the bitter face-off between a bull and a girl in New York City got a curious, four-legged interloper: a tiny pug, with one of those legs suggestively raised beside the girl’s leg. There was no urine, no caustic caption, but it was clear where the dog’s disdain was directed.\u003c/p>\n\u003cp>The statue’s placement by sculptor Alex Gardega marks an odd, if brief, digression in a contentious chapter that’s been unfolding off Wall Street for months. It was there that the financial district’s nearly three-decade-old \u003cem>Charging Bull\u003c/em> confronted a new arrival earlier this year: the statue of a defiant girl, hands placed firmly on hips and chin thrust forward against the bull’s implied threat.\u003c/p>\n\u003cp>The artist behind the bull, Arturo Di Modico, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/12/523592057/sculptor-of-wall-street-bull-says-fearless-girl-horns-in-on-his-work\" target=\"_blank\" rel=\"noopener\">has not appreciated\u003c/a> the installation of \u003cem>Fearless Girl\u003c/em>, a work designed by Kristen Visbal and commissioned by an international investment firm State Street Global Advisors.\u003c/p>\n\u003cp>The firm says it intended the girl as a means to “to \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/enhancing-gender-diversity-on-boards-emea.html\" target=\"_blank\" rel=\"noopener\">raise awareness and drive a conversation\u003c/a> around the need to improve gender diversity in corporate leadership roles.” Di Modico, however, feels the new statue mutates his long-celebrated bull into a villain for the sake of \u003ca href=\"http://www.marketwatch.com/story/wall-street-bull-artist-calls-bs-on-fearless-girl-statue-2017-03-20\" target=\"_blank\" rel=\"noopener\">“an advertising trick.”\u003c/a>\u003c/p>\n\u003cp>If his disdainful pug wasn’t indication enough, Gardega made clear to \u003ca href=\"http://www.nbcnewyork.com/news/local/Peeing-Dog-Statue-Takes-Aim-at-Fearless-Girl-Report-425226224.html\" target=\"_blank\" rel=\"noopener\">NBC News’ affiliate in New York\u003c/a> which side of the dispute he is on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have a lot of empathy for the creator of the bull, Arturo,” Gardega told NBC on Tuesday. “I’m a pretty happy person, not seething or angry and certainly not anti-feminist. My piece is not without a sense of humor. There is plenty of room for \u003cem>Fearless Girl\u003c/em>; it just interferes with another artists work/vision.”\u003c/p>\n\u003cp>In an \u003ca href=\"http://nypost.com/2017/05/29/pissed-off-artist-adds-statue-of-urinating-dog-next-to-fearless-girl/\" target=\"_blank\" rel=\"noopener\">interview with the New York Post\u003c/a>, he called \u003cem>Fearless Girl\u003c/em> — which recently had its temporary permit renewed by the city through 2018 — “corporate nonsense.”\u003c/p>\n\u003cp>“It has nothing to do with feminism, and it is disrespect to the artist that made the bull,” he said.\u003c/p>\n\u003cp>Visbal did not immediately make a public comment about the dog’s placement.\u003c/p>\n\u003cp>If nothing else, Gardena’s pug joins a tradition of imposition established by the two statues it briefly came between: \u003cem>Fearless Girl\u003c/em> was set up overnight opposite the \u003cem>Charging Bull\u003c/em> against the wishes of Di Modico — who, in turn, initially set up his own bull overnight outside the New York Stock Exchange in the late 1980s, also against that institution’s wishes.\u003c/p>\n\u003cp>As one might imagine, though, the dog did little to ease the dispute. A quick glance at Twitter confirms the inflamed frustrations on either side.\u003c/p>\n\u003cp>At any rate, the little dog is gone now, picked up after several hours by Gardega since, as he tells NBC, he “certainly had no rights to bolt it to the ground.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The bitter face-off between Di Modica and the \u003cem>Fearless Girl\u003c/em>‘s many defenders, though — that remains standing as firmly as the two statues themselves. \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=For+A+Few+Hours%2C+A+Sculpted+Dog+Was+Urinating+On+The+%27Fearless+Girl%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the U.S. Military Used Guns N' Roses to Make a Dictator Give Up",
"headTitle": "How the U.S. Military Used Guns N’ Roses to Make a Dictator Give Up | KQED",
"content": "\u003cp>The U.S. military invaded Panama in hot pursuit of the country’s dictator, Manuel Noriega, in December 1989. As he rapidly ran out of options, Noriega took refuge at the Vatican Embassy in Panama City.\u003c/p>\n\u003cp>In deference to diplomatic protocol, U.S. forces did not enter the embassy. But they did concoct a plan to smoke out Noriega, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/30/530666952/former-panamanian-dictator-manuel-noriega-dies-at-83\" target=\"_blank\" rel=\"noopener\">died Monday\u003c/a> at the age of 83. The plan involved music, mostly heavy metal and rock, with a few ballads thrown in. It was blasted on loud speakers, at deafening volumes, around the clock.\u003c/p>\n\u003cp>Here’s a small sampling of \u003ca href=\"http://www.rsvlts.com/2015/01/02/noriega-playlist/\" target=\"_blank\" rel=\"noopener\">the playlist\u003c/a> designed to send Noriega a musical message:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=IeqtAB1WgEw\" target=\"_blank\" rel=\"noopener\">“Give It Up,”\u003c/a> by K.C. And The Sunshine Band, \u003ca href=\"https://www.youtube.com/watch?v=QM5_T0eNPrQ\" target=\"_blank\" rel=\"noopener\">“No More Mister Nice Guy,”\u003c/a> by Alice Cooper, and \u003ca href=\"https://www.youtube.com/watch?v=hkXHsK4AQPs\" target=\"_blank\" rel=\"noopener\">“Paranoid”\u003c/a> by Black Sabbath.\u003c/p>\n\u003cp>You get the drift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IeqtAB1WgEw\u003c/p>\n\u003cp>The U.S. military launched the operation on Dec. 20, 1989, to seize Noriega, who had once been a U.S. ally but was by this point wanted on drug trafficking charges. The U.S. military radio for Central America, known as the Southern Command Network, initially did what it always did — play requests from the troops.\u003c/p>\n\u003cp>Many of those requests were directed at Noriega. As U.S. Southern Command later noted in an \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/950206.htm\" target=\"_blank\" rel=\"noopener\">after-action report\u003c/a>:\u003c/p>\n\u003cp>“When the troops started coming in from the field, the requests became quite imaginative,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">it said in dry, military-speak\u003c/a>.\u003c/p>\n\u003cp>The favorites included \u003ca href=\"https://www.youtube.com/watch?v=o1tj2zJ2Wvg\" target=\"_blank\" rel=\"noopener\">“Welcome to the Jungle,”\u003c/a> by Guns N’ Roses, \u003ca href=\"bon%20jovi%20wanted%20dead%20or%20alive\" target=\"_blank\" rel=\"noopener\">“Wanted Dead Or Alive,”\u003c/a> by Bon Jovi, and \u003ca href=\"https://www.youtube.com/watch?v=JSUIQgEVDM4\" target=\"_blank\" rel=\"noopener\">“The End”\u003c/a> by The Doors.\u003c/p>\n\u003cp>After several days on the run, Noriega was allowed to enter the Vatican Embassy on Christmas Eve. And on Christmas Day, the radio station broadcast only Christmas music.\u003c/p>\n\u003cp>But with requests streaming in, the U.S. effort ramped up after the holiday.\u003c/p>\n\u003cp>On Dec. 27, “someone who identified himself as a member of the PSYOPS [Psychological Operations] team from Fort Bragg [N.C.] called to tell us what they were doing with their loud speakers,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">the military report said\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/world/shortcuts/2017/may/30/noriega-panama-music-playlist\" target=\"_blank\" rel=\"noopener\">U.S. Gen. Maxwell “Mad Max” Thurman\u003c/a> had ordered speakers placed as a “musical barrier” around the perimeter of the Vatican Embassy and turned to full volume.\u003c/p>\n\u003cp>Noriega was reportedly partial to opera. What he got was \u003ca href=\"https://www.youtube.com/watch?v=w-NshzYK9y0\" target=\"_blank\" rel=\"noopener\">“Panama,”\u003c/a> from Van Halen, \u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\" target=\"_blank\" rel=\"noopener\">“Danger Zone,”\u003c/a> from Kenny Loggins, and \u003ca href=\"https://www.youtube.com/watch?v=fFnOfpIJL0M\" target=\"_blank\" rel=\"noopener\">“Refugee,”\u003c/a> courtesy of Tom Petty.\u003c/p>\n\u003cp>And remember, this was the ’80s. So the strongman also got an earful of Rick Astley’s \u003ca href=\"https://www.youtube.com/watch?v=dQw4w9WgXcQ\" target=\"_blank\" rel=\"noopener\">“Never Gonna Give You Up,”\u003c/a> though that may have been intended more for Noriega’s hosts at the embassy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dQw4w9WgXcQ\u003c/p>\n\u003cp>As the standoff dragged on for days, the playlist became part of the story.\u003c/p>\n\u003cp>Not everyone was happy with the military’s approach, including the White House, and the \u003ca href=\"http://www.bbc.com/news/world-latin-america-40090809\" target=\"_blank\" rel=\"noopener\">music was stopped after several days.\u003c/a> President George H.W. Bush’s national security adviser, Brent Scowcroft, said afterward that he thought the use of high-volume music was “undignified.”\u003c/p>\n\u003cp>On Jan. 3, 1990, Noriega surrendered to the U.S. forces, though not until after he’d been treated to a version of “\u003ca href=\"https://www.youtube.com/watch?v=AL8chWFuM-s\" target=\"_blank\" rel=\"noopener\">I Fought The Law\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noriega was flown to Miami, tried and convicted of drug trafficking, and spent nearly two decades in U.S. prisons. \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+The+U.S.+Military+Used+Guns+N%27+Roses+To+Make+A+Dictator+Give+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The U.S. military invaded Panama in hot pursuit of the country’s dictator, Manuel Noriega, in December 1989. As he rapidly ran out of options, Noriega took refuge at the Vatican Embassy in Panama City.\u003c/p>\n\u003cp>In deference to diplomatic protocol, U.S. forces did not enter the embassy. But they did concoct a plan to smoke out Noriega, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/30/530666952/former-panamanian-dictator-manuel-noriega-dies-at-83\" target=\"_blank\" rel=\"noopener\">died Monday\u003c/a> at the age of 83. The plan involved music, mostly heavy metal and rock, with a few ballads thrown in. It was blasted on loud speakers, at deafening volumes, around the clock.\u003c/p>\n\u003cp>Here’s a small sampling of \u003ca href=\"http://www.rsvlts.com/2015/01/02/noriega-playlist/\" target=\"_blank\" rel=\"noopener\">the playlist\u003c/a> designed to send Noriega a musical message:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=IeqtAB1WgEw\" target=\"_blank\" rel=\"noopener\">“Give It Up,”\u003c/a> by K.C. And The Sunshine Band, \u003ca href=\"https://www.youtube.com/watch?v=QM5_T0eNPrQ\" target=\"_blank\" rel=\"noopener\">“No More Mister Nice Guy,”\u003c/a> by Alice Cooper, and \u003ca href=\"https://www.youtube.com/watch?v=hkXHsK4AQPs\" target=\"_blank\" rel=\"noopener\">“Paranoid”\u003c/a> by Black Sabbath.\u003c/p>\n\u003cp>You get the drift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IeqtAB1WgEw'\n title='//www.youtube.com/embed/IeqtAB1WgEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The U.S. military launched the operation on Dec. 20, 1989, to seize Noriega, who had once been a U.S. ally but was by this point wanted on drug trafficking charges. The U.S. military radio for Central America, known as the Southern Command Network, initially did what it always did — play requests from the troops.\u003c/p>\n\u003cp>Many of those requests were directed at Noriega. As U.S. Southern Command later noted in an \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/950206.htm\" target=\"_blank\" rel=\"noopener\">after-action report\u003c/a>:\u003c/p>\n\u003cp>“When the troops started coming in from the field, the requests became quite imaginative,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">it said in dry, military-speak\u003c/a>.\u003c/p>\n\u003cp>The favorites included \u003ca href=\"https://www.youtube.com/watch?v=o1tj2zJ2Wvg\" target=\"_blank\" rel=\"noopener\">“Welcome to the Jungle,”\u003c/a> by Guns N’ Roses, \u003ca href=\"bon%20jovi%20wanted%20dead%20or%20alive\" target=\"_blank\" rel=\"noopener\">“Wanted Dead Or Alive,”\u003c/a> by Bon Jovi, and \u003ca href=\"https://www.youtube.com/watch?v=JSUIQgEVDM4\" target=\"_blank\" rel=\"noopener\">“The End”\u003c/a> by The Doors.\u003c/p>\n\u003cp>After several days on the run, Noriega was allowed to enter the Vatican Embassy on Christmas Eve. And on Christmas Day, the radio station broadcast only Christmas music.\u003c/p>\n\u003cp>But with requests streaming in, the U.S. effort ramped up after the holiday.\u003c/p>\n\u003cp>On Dec. 27, “someone who identified himself as a member of the PSYOPS [Psychological Operations] team from Fort Bragg [N.C.] called to tell us what they were doing with their loud speakers,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">the military report said\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/world/shortcuts/2017/may/30/noriega-panama-music-playlist\" target=\"_blank\" rel=\"noopener\">U.S. Gen. Maxwell “Mad Max” Thurman\u003c/a> had ordered speakers placed as a “musical barrier” around the perimeter of the Vatican Embassy and turned to full volume.\u003c/p>\n\u003cp>Noriega was reportedly partial to opera. What he got was \u003ca href=\"https://www.youtube.com/watch?v=w-NshzYK9y0\" target=\"_blank\" rel=\"noopener\">“Panama,”\u003c/a> from Van Halen, \u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\" target=\"_blank\" rel=\"noopener\">“Danger Zone,”\u003c/a> from Kenny Loggins, and \u003ca href=\"https://www.youtube.com/watch?v=fFnOfpIJL0M\" target=\"_blank\" rel=\"noopener\">“Refugee,”\u003c/a> courtesy of Tom Petty.\u003c/p>\n\u003cp>And remember, this was the ’80s. So the strongman also got an earful of Rick Astley’s \u003ca href=\"https://www.youtube.com/watch?v=dQw4w9WgXcQ\" target=\"_blank\" rel=\"noopener\">“Never Gonna Give You Up,”\u003c/a> though that may have been intended more for Noriega’s hosts at the embassy.\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/dQw4w9WgXcQ'\n title='//www.youtube.com/embed/dQw4w9WgXcQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the standoff dragged on for days, the playlist became part of the story.\u003c/p>\n\u003cp>Not everyone was happy with the military’s approach, including the White House, and the \u003ca href=\"http://www.bbc.com/news/world-latin-america-40090809\" target=\"_blank\" rel=\"noopener\">music was stopped after several days.\u003c/a> President George H.W. Bush’s national security adviser, Brent Scowcroft, said afterward that he thought the use of high-volume music was “undignified.”\u003c/p>\n\u003cp>On Jan. 3, 1990, Noriega surrendered to the U.S. forces, though not until after he’d been treated to a version of “\u003ca href=\"https://www.youtube.com/watch?v=AL8chWFuM-s\" target=\"_blank\" rel=\"noopener\">I Fought The Law\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noriega was flown to Miami, tried and convicted of drug trafficking, and spent nearly two decades in U.S. prisons. \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+The+U.S.+Military+Used+Guns+N%27+Roses+To+Make+A+Dictator+Give+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Denis Johnson, Author Who Wrote of the 'Painfully Beautiful,' Dies at 67",
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"content": "\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Denis Johnson, the author behind the seminal collection \u003cem>Jesus’ Son\u003c/em>, has died at the age of 67. Jeff Seroy, a spokesperson for Johnson’s publisher, Farrar Straus and Giroux, confirmed that the National Book Award-winning novelist died but offered no further details.\u003c/p>\n\u003cp>https://twitter.com/fsgbooks/status/868115191501914112\u003c/p>\n\u003cp>“Denis was one of the great writers of his generation,” FSG’s president and publisher, Jonathan Galassi, said in a statement Friday. “He wrote prose with the imaginative concentration and empathy of the poet he was.”\u003c/p>\n\u003cp>“Brutally honest and painfully beautiful” — that’s how novelist Nathan Englander described Johnson’s work in 1992’s \u003cem>Jesus’ Son\u003c/em>, a brief, unvarnished set of interwoven stories that focus on the desperate lives of drug addicts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He doesn’t ever romanticize these dark settings while leaving his narrator open to the fact that, despite it all, we may live in a heartbreakingly romantic world,” Englander \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11531765\" target=\"_blank\" rel=\"noopener\">wrote of Johnson in 2007\u003c/a>, adding: “With dialogue that feels like you’re getting it verbatim and stripped-down prose, he writes simple, honest stories that have the bigness of great work.”\u003c/p>\n\u003cp>The same year that Englander praised him on NPR, Johnson went on to win the National Book Award for a significantly heftier work — at least in physical size. \u003cem>Tree of Smoke\u003c/em>, a deep dive into covert operations during the Vietnam War, only added proof to the notion Johnson was “a fine stylist of the world of soulful disaster,” reviewer Alan Cheuse \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=14162036\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a>.\u003c/p>\n\u003cp>And Johnson, whose novella \u003cem>Train Dreams\u003c/em> was also a finalist for the 2012 Pulitzer, proved to be prolific both on the page and off: The author of about 20 books, including several collections of poetry, he pursued journalistic stories in Somalia and Liberia, among other places around the world.\u003c/p>\n\u003cp>In Liberia’s capital city in 1990, the dogs were doing well “because they feed on human corpses,” he wrote in “The Civil War in Hell,” a piece included in the nonfiction collection \u003cem>Seek\u003c/em>. “The people are starving, but the dogs have put on weight.”\u003c/p>\n\u003cp>https://twitter.com/alexanderchee/status/867973643539587076\u003c/p>\n\u003cp>https://twitter.com/AimeeBender/status/867975314265186304\u003c/p>\n\u003cp>From book to book, the protean writer frequently defied readers’ expectations, slipping into new voices with each publication.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I get bored quickly and try another style, another genre, another form,” he \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-denis-johnson-20141102-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times\u003c/a> in 2014, around the time he released his 10th novel, \u003cem>Laughing Monsters\u003c/em>. “To me the writing is all one thing, or maybe I should say it’s all nothing. The truth is, I just write sentences.” \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=Denis+Johnson%2C+Author+Who+Wrote+Of+The+%27Painfully+Beautiful%2C%27+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The National Book Award-winning novelist was perhaps best known for 'Jesus' Son', a book of interwoven stories focused on the lives of addicts. A spokesman for his publisher tells NPR he died this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He doesn’t ever romanticize these dark settings while leaving his narrator open to the fact that, despite it all, we may live in a heartbreakingly romantic world,” Englander \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11531765\" target=\"_blank\" rel=\"noopener\">wrote of Johnson in 2007\u003c/a>, adding: “With dialogue that feels like you’re getting it verbatim and stripped-down prose, he writes simple, honest stories that have the bigness of great work.”\u003c/p>\n\u003cp>The same year that Englander praised him on NPR, Johnson went on to win the National Book Award for a significantly heftier work — at least in physical size. \u003cem>Tree of Smoke\u003c/em>, a deep dive into covert operations during the Vietnam War, only added proof to the notion Johnson was “a fine stylist of the world of soulful disaster,” reviewer Alan Cheuse \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=14162036\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a>.\u003c/p>\n\u003cp>And Johnson, whose novella \u003cem>Train Dreams\u003c/em> was also a finalist for the 2012 Pulitzer, proved to be prolific both on the page and off: The author of about 20 books, including several collections of poetry, he pursued journalistic stories in Somalia and Liberia, among other places around the world.\u003c/p>\n\u003cp>In Liberia’s capital city in 1990, the dogs were doing well “because they feed on human corpses,” he wrote in “The Civil War in Hell,” a piece included in the nonfiction collection \u003cem>Seek\u003c/em>. “The people are starving, but the dogs have put on weight.”\u003c/p>\u003c/p>\u003c/div>",
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"title": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born",
"headTitle": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born | KQED",
"content": "\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZSthLmvh6Fk\u003c/p>\n\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/13577781″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \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=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\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/ZSthLmvh6Fk'\n title='//www.youtube.com/embed/ZSthLmvh6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/13577781″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/13577781″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \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=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cole Porter's Pro-Immigration Ballet Gets a Trump-Era Revival",
"headTitle": "Cole Porter’s Pro-Immigration Ballet Gets a Trump-Era Revival | KQED",
"content": "\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical in that.” \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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Within the Quota\u003c/em> criticized the restrictive immigration laws passed by Congress after World War I. Now the Princeton University Ballet has brought the show back — with a few updates.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical in that.” \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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Bachelorette' May Have a Black Star, But it's Still Set in a White World",
"headTitle": "‘The Bachelorette’ May Have a Black Star, But it’s Still Set in a White World | KQED",
"content": "\u003cp>As a TV critic who keeps an eye on social issues, I’ve long been critical of ABC’s \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises. They urge viewers to believe completely contrived events are somehow spontaneous. They also support an unhealthy princess fantasy in which romance is conflated with an upper-middle class wonderland filled with reality TV fame and luxury resort getaways.\u003c/p>\n\u003cp>So why do I find it so important that \u003cem>The Bachelorette\u003c/em> is welcoming its first black woman as a star this season? The answer came as I watched Rachel Lindsay navigate what turned out to be a pretty typical \u003cem>Bachelorette\u003c/em> debut episode, which aired Monday night. The show hit all the expected notes: a quick review of how she was rejected by Nick Viall in the last \u003cem>Bachelor\u003c/em> season, a hasty reminder of her background as an attorney and a turn into the new life she was hoping for at the end of the \u003cem>Bachelorette\u003c/em> “journey.”\u003c/p>\n\u003cp>But part of the show’s princess fantasy involves building up its bachelorette as an archetype of beauty: a smart, personable, all-American woman who a bevy of Abercrombie & Fitch model lookalikes would fight over.\u003c/p>\n\u003cp>And this time — for the first time — that woman is black.\u003c/p>\n\u003cp>It’s worth noting that until relatively recently people of color — especially black people — have often been shut out of any significant representation on \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette.\u003c/em> In 2012, two black men sued the show for racial discrimination (a legal effort that \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener\">ultimately failed\u003c/a>) and a different black woman (dentist and model Misee Harris) conducted a futile campaign to be chosen as a bachelorette just a few years ago. Occasionally, the show has presented moments where black contestants have struggled, but for the most part it has ignored or papered over its blind spots on race.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So it was with a mixture of trepidation and anticipation that I watched Lindsay meet 31 suitors in hopes that one would turn out to be Mr. Right. (And one did: Lindsay \u003ca href=\"http://www.npr.org/2017/05/22/529467044/rachel-lindsay-will-debut-as-the-first-black-bachelorette\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> and other media outlets that she got engaged at the end of this season, which was filmed in advance).\u003c/p>\n\u003cp>Previous recent iterations of \u003cem>The Bachelorette\u003c/em> have only featured about 25 or 26 “suitors,” so it was odd to see so many guys on Lindsay’s season. And even though the field of men was the most diverse in franchise history, there were still only 11 black men in the running.\u003c/p>\n\u003cp>Given how previous shows have been dominated by white suitors, I thought there might have been even more people of color presented (and if they wanted to more closely reflect the population, Hispanic guys were severely underrepresented). My suspicion is that ABC was worried about having enough white guys in the mix for their mostly white audience, while making sure there was also lots of racial diversity onscreen.\u003c/p>\n\u003cp>The pattern of Monday’s episode was familiar. Lindsay met the guys and each one was a “type.” There was DeMario, the overconfident one who brought Lindsay plane tickets and a plan to elope in Las Vegas together; Bryan, the suave one who spoke to her in Spanish and won a rose for best first impression; and Lucas, the crazy one who kept shouting \u003ca href=\"http://www.tvguide.com/news/the-bachelorette-whaboom-lucas-yancey/\" target=\"_blank\" rel=\"noopener\">an outlandish catchphrase\u003c/a> and caused all sorts of drama when he was picked last among the 23 men chosen to move ahead — as if producers would let such a great pot-stirrer head home after just one episode.\u003c/p>\n\u003cp>Hopping out of limousines to meet her for the first time, some of the guys resorted to gimmicks that felt a bit contrived: breaking a block of ice with a sledgehammer (breaking the ice — get it?), bringing a creepy mannequin as a conversation starter, walking up with a marching band and, of course, Lucas with his frat-guy-at-a-kegger obnoxiousness and mini-bullhorn.\u003c/p>\n\u003cp>Also as usual, there wasn’t much acknowledgement of the elephant in the room. Though host Chris Harrison began the episode by saying, “Let’s take a look at the bachelorette everybody’s talking about,” he never really said \u003cem>why\u003c/em> people were talking about her. One of the black men noted how diverse the pool of suitors was and there was an awkward moment where the episode ended with several suitors freestyle rapping. (Really, \u003cem>Bachelorette\u003c/em>?)\u003c/p>\n\u003cp>For some, that may be a great development; a way to emphasize the universality of everyone’s experience. But \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises have always glorified an ideal culture that is both upper-middle class and very white. Even among the 23 men left, just eight are black, so the contestant pool will be still dominated by white men. And in the preview scenes flashed at the episode’s end, it seems they’ll be enjoying the typical array of luxury resorts and getaway experiences — places and activities that rarely include other black people.\u003c/p>\n\u003cp>From the show’s perspective, this was likely a home run: They presented a diverse field of contestants and a black bachelorette without upsetting the bedrock formula that makes this “reality TV” soap opera successful. (According to previews, we can look forward to one suitor’s surprise girlfriend bursting onto the show and ramping up the drama).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for those of us hoping to see some of the show’s basic messaging about culture, class and race changed, it was a disappointment. True diversity isn’t just about expecting black people to assimilate into a mostly white world; it’s about widening that world to reflect the experiences of everyone in it. With any luck, maybe they’ll get around to that before this season is over. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelorette%27+May+Have+A+Black+Star%2C+But+It%27s+Still+Set+In+A+White+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Some may see Rachel Lindsay's rise as progress; but diversity isn't about expecting black people to assimilate into a mostly white world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a TV critic who keeps an eye on social issues, I’ve long been critical of ABC’s \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises. They urge viewers to believe completely contrived events are somehow spontaneous. They also support an unhealthy princess fantasy in which romance is conflated with an upper-middle class wonderland filled with reality TV fame and luxury resort getaways.\u003c/p>\n\u003cp>So why do I find it so important that \u003cem>The Bachelorette\u003c/em> is welcoming its first black woman as a star this season? The answer came as I watched Rachel Lindsay navigate what turned out to be a pretty typical \u003cem>Bachelorette\u003c/em> debut episode, which aired Monday night. The show hit all the expected notes: a quick review of how she was rejected by Nick Viall in the last \u003cem>Bachelor\u003c/em> season, a hasty reminder of her background as an attorney and a turn into the new life she was hoping for at the end of the \u003cem>Bachelorette\u003c/em> “journey.”\u003c/p>\n\u003cp>But part of the show’s princess fantasy involves building up its bachelorette as an archetype of beauty: a smart, personable, all-American woman who a bevy of Abercrombie & Fitch model lookalikes would fight over.\u003c/p>\n\u003cp>And this time — for the first time — that woman is black.\u003c/p>\n\u003cp>It’s worth noting that until relatively recently people of color — especially black people — have often been shut out of any significant representation on \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette.\u003c/em> In 2012, two black men sued the show for racial discrimination (a legal effort that \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener\">ultimately failed\u003c/a>) and a different black woman (dentist and model Misee Harris) conducted a futile campaign to be chosen as a bachelorette just a few years ago. Occasionally, the show has presented moments where black contestants have struggled, but for the most part it has ignored or papered over its blind spots on race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was with a mixture of trepidation and anticipation that I watched Lindsay meet 31 suitors in hopes that one would turn out to be Mr. Right. (And one did: Lindsay \u003ca href=\"http://www.npr.org/2017/05/22/529467044/rachel-lindsay-will-debut-as-the-first-black-bachelorette\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> and other media outlets that she got engaged at the end of this season, which was filmed in advance).\u003c/p>\n\u003cp>Previous recent iterations of \u003cem>The Bachelorette\u003c/em> have only featured about 25 or 26 “suitors,” so it was odd to see so many guys on Lindsay’s season. And even though the field of men was the most diverse in franchise history, there were still only 11 black men in the running.\u003c/p>\n\u003cp>Given how previous shows have been dominated by white suitors, I thought there might have been even more people of color presented (and if they wanted to more closely reflect the population, Hispanic guys were severely underrepresented). My suspicion is that ABC was worried about having enough white guys in the mix for their mostly white audience, while making sure there was also lots of racial diversity onscreen.\u003c/p>\n\u003cp>The pattern of Monday’s episode was familiar. Lindsay met the guys and each one was a “type.” There was DeMario, the overconfident one who brought Lindsay plane tickets and a plan to elope in Las Vegas together; Bryan, the suave one who spoke to her in Spanish and won a rose for best first impression; and Lucas, the crazy one who kept shouting \u003ca href=\"http://www.tvguide.com/news/the-bachelorette-whaboom-lucas-yancey/\" target=\"_blank\" rel=\"noopener\">an outlandish catchphrase\u003c/a> and caused all sorts of drama when he was picked last among the 23 men chosen to move ahead — as if producers would let such a great pot-stirrer head home after just one episode.\u003c/p>\n\u003cp>Hopping out of limousines to meet her for the first time, some of the guys resorted to gimmicks that felt a bit contrived: breaking a block of ice with a sledgehammer (breaking the ice — get it?), bringing a creepy mannequin as a conversation starter, walking up with a marching band and, of course, Lucas with his frat-guy-at-a-kegger obnoxiousness and mini-bullhorn.\u003c/p>\n\u003cp>Also as usual, there wasn’t much acknowledgement of the elephant in the room. Though host Chris Harrison began the episode by saying, “Let’s take a look at the bachelorette everybody’s talking about,” he never really said \u003cem>why\u003c/em> people were talking about her. One of the black men noted how diverse the pool of suitors was and there was an awkward moment where the episode ended with several suitors freestyle rapping. (Really, \u003cem>Bachelorette\u003c/em>?)\u003c/p>\n\u003cp>For some, that may be a great development; a way to emphasize the universality of everyone’s experience. But \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises have always glorified an ideal culture that is both upper-middle class and very white. Even among the 23 men left, just eight are black, so the contestant pool will be still dominated by white men. And in the preview scenes flashed at the episode’s end, it seems they’ll be enjoying the typical array of luxury resorts and getaway experiences — places and activities that rarely include other black people.\u003c/p>\n\u003cp>From the show’s perspective, this was likely a home run: They presented a diverse field of contestants and a black bachelorette without upsetting the bedrock formula that makes this “reality TV” soap opera successful. (According to previews, we can look forward to one suitor’s surprise girlfriend bursting onto the show and ramping up the drama).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for those of us hoping to see some of the show’s basic messaging about culture, class and race changed, it was a disappointment. True diversity isn’t just about expecting black people to assimilate into a mostly white world; it’s about widening that world to reflect the experiences of everyone in it. With any luck, maybe they’ll get around to that before this season is over. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelorette%27+May+Have+A+Black+Star%2C+But+It%27s+Still+Set+In+A+White+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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