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"content": "\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. 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Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \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=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-five years ago Tuesday, a career-defining single was born — and with it, endless sitcom jokes and rap homages. It was referenced in \u003cem>Sing\u003c/em>, the 2016 animated children’s movie, and in \u003cem>Shrek\u003c/em> years before that. But when it debuted in 1992, there were those who took it to heart as an anthem of body positivity.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=kY84MRnxVzo\" target=\"_blank\" rel=\"noopener\">Baby Got Back\u003c/a>” begins kind of a heartbreaking scene: a white woman talking to her friend Becky, straight up mocking a black woman. The man behind the song, Anthony Ray — better known as Sir Mix-a-Lot — says he didn’t make that up.\u003c/p>\n\u003cp>“It was like a blown-out, glorified version of what was actually being said at that time,” he says. “Basically, pop culture was waif-thin, heroin addict, big hair, fake boobs — you know, that was what they thought beautiful was. And because of the way it was discussed publicly, it made women who had naturally curvy bodies … run around with sweaters wrapped around their waist.”\u003c/p>\n\u003cp>“When I heard it, I just felt so — it was so affirming,” says Erin Aubry Kaplan. In the mid-’90s, Kaplan was staff writer at \u003cem>LA Weekly\u003c/em>. She and wrote a big feature article about the paradoxical way black women’s butts were seen — using “Baby Got Back” as an epigraph.\u003c/p>\n\u003cp>“Every day, my butt wears \u003cem>me\u003c/em> tolerably well, I’d like to think,” her piece went, “and has ever since I came full up on puberty about 20 years ago and had to wrestle it back into the Levi’s 501s it had barely put up with anyway.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kaplan says she admired the way the “Baby Got Back” cut through the timidity people had talking about that part of the body: “It was saying to me and other black women, you know what, you have a great shape and white people think that too. ‘Even white boys got to shout.'”\u003c/p>\n\u003cp>The song was pretty clear about who Mix-a-Lot thought was to blame, calling out magazines like \u003cem>Cosmopolitan\u003c/em> and \u003cem>Playboy\u003c/em> for pushing a very specific worldview of what women should look like. Have things changed in the past quarter-century? A little, says Ashley Weatherford, a beauty editor at \u003cem>New York\u003c/em> magazine’s fashion site, The Cut.\u003c/p>\n\u003cp>“It’s been a long time coming, but I think there’s certainly an element, especially within the magazine space, of embracing a diversity of body sizes,” Weatherford says, though she thinks sites like hers might be ahead of the curve on that. She adds that black women didn’t really need Sir Mix-a-Lot to take up this particular fight — “but that doesn’t mean it’s not nice.”\u003c/p>\n\u003cp>As for Mix-a-Lot himself, he says he hasn’t put the song behind him yet, and still plays it when he gets a chance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I do bar mitzvahs? No,” he says, laughing. “You know, you’ve gotta draw a line somewhere. But when you’re in front of a big crowd — I know what they’re there to see.” \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=Sir+Mix-a-Lot+On+25+Years+Of+%27Baby+Got+Back%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a wildfire in the Great Smoky Mountains region of her native Tennessee late last year which left hundreds homeless, country legend Dolly Parton \u003ca href=\"https://www.nytimes.com/2016/12/01/us/dolly-parton-tennessee-fires.html\" target=\"_blank\" rel=\"noopener\">immediately launched\u003c/a> the My People Fund, promising to give displaced families a $1,000-per-month stipend sourced from outside donations and Parton’s own foundation. As of last Friday (May 5), the last of the checks have been cut — Parton had said from the outset that families would receive six months of support — with a total of $8.9 million having been distributed to the fire victims, according to \u003ca href=\"https://dollyparton.com/life-and-career/dollys-my-people-fund-finishes-smokies-strong/14053\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a>.\u003c/p>\n\u003cp>“We started the distribution in December right around the longest night of the year,” writes Parton, “and I know it felt dark and lonely for so many. But here we are in spring, a time for renewal and a time for hope. I know the money helps but most of all I want people to know we will always provide you a shoulder to lean on.”\u003c/p>\n\u003cp>Parton’s My People Fund also announced a partnership with the \u003ca href=\"http://www.mountaintough.org/\" target=\"_blank\" rel=\"noopener\">Mountain Tough Recovery Team\u003c/a> to provide an additional $3 million in support over the coming months. Additionally the Wildfire Scholarship Fund, separate from My People, will provide $4,500 scholarships to all junior and senior high school students who lost their homes to the fire.\u003c/p>\n\u003cp>“We want to provide a hand up to all those families that have lost everything in the fires,” Parton said in \u003ca href=\"https://dollyparton.com/latest-news/page/5/\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> urging support posted immediately after the fires. An update posted to her website in mid-December said the Fund had raised over $9 million following a telethon hosted by Parton which featured Kenny Rogers, Chris Stapleton and Cyndi Lauper. Four days later she announced “hundreds” of checks had \u003ca href=\"https://dollyparton.com/dollywood-foundation/dollywood-foundation-distributes-my-people-fund-checks/13400\" target=\"_blank\" rel=\"noopener\">been distributed\u003c/a>.\u003c/p>\n\u003cp>Donations continued to arrive through January and February. In a meeting of the Pigeon Forge Hospitality Association, Dollywood Foundation president David Dotson said the fund was currently issuing 921 families monthly checks as of early March, according to the \u003cem>\u003ca href=\"http://www.knoxnews.com/story/money/business/2017/03/09/dollys-my-people-fund-issues-checks-921-sevier-county-wildfire-victims/98947324/\" target=\"_blank\" rel=\"noopener\">Knoxville News Sentinel\u003c/a>\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=Dolly+Parton+Provides+Fire+Victims+%27Shoulder+To+Lean+On%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Creating a hit musical which appeals to family audiences is kind of Broadway’s holy grail — think current long-running shows, like \u003cem>The Lion King\u003c/em> and \u003cem>Wicked,\u003c/em> which have run for decades\u003cem>, \u003c/em>or earlier shows like \u003cem>Cats\u003c/em> and \u003cem>Annie\u003c/em>. Critics don’t always give these shows good reviews, but that doesn’t seem to matter much. Now, two new musicals are aiming to get the kid stamp of approval.\u003c/p>\n\u003cp>On a recent Friday evening families poured onto 46th Street after a performance of \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Charlie and the Chocolate Factory\u003c/a>. Taylor Ponte, a tween from Manhattan, offered her thoughts: “I liked it a lot. And I liked the part where she blew up like a balloon. I liked all of it.”\u003c/p>\n\u003cp>This kind of reaction is why Warner Bros., which is producing the show, brought it to Broadway. The adaptation of Roald Dahl’s beloved children’s book could be something of a golden ticket for them — creating a hit which runs for years, goes on tours in the U.S. and overseas, and sells tons of merchandise. But some of the critics \u003ca href=\"http://www.hollywoodreporter.com/review/charlie-chocolate-factory-theater-996618\" target=\"_blank\" rel=\"noopener\">weren’t impressed\u003c/a>.\u003c/p>\n\u003cp>“I loathed the show,” says David Rooney, chief theater critic for \u003cem>The Hollywood Reporter\u003c/em>. “I thought it was a complete mess.”\u003c/p>\n\u003cp>Family musicals have been big business on Broadway, ever since Disney presented a stage adaptation of \u003cem>Beauty and the Beast\u003c/em> in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of people roll their eyes about what Disney does on Broadway,” says Rooney. “But I think for the most part they do it very well.”\u003c/p>\n\u003cp>Disney shows like \u003cem>The Lion King\u003c/em> and \u003cem>Aladdin \u003c/em>give audiences a lot of bang for their buck.\u003c/p>\n\u003cp>“I think a family buying Broadway tickets want to see what they’re spending their money on,” Rooney explains. “They want to see a production that has energy and that has spectacle and that will dazzle the kids and I think Disney knows how to do that. They work hard at doing that. And I would imagine that \u003cem>Frozen\u003c/em> is going to be along those lines.”\u003c/p>\n\u003cp>\u003cem>Frozen\u003c/em> doesn’t open until next spring, but this spring, \u003cem>Charlie and the Chocolate Factory\u003c/em> is duking it out with a stage adaptation of \u003cem>Anastasia\u003c/em>, the 1997 Fox animated film — Rooney gave that one \u003ca href=\"http://www.hollywoodreporter.com/review/anastasia-theater-review-996856\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>There’s a real fluid cinematic feel to it, but the material is what it is,” he says. “It’s kind of clunky. It’s kind of old fashioned. It’s a little bit kitsch.”\u003c/p>\n\u003cp>But it’s been selling out, so it could be critic-proof — and Rooney admits it. When he saw \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Anastasia\u003c/a>\u003cem>,\u003c/em> the girls in the audience responded — loudly — to many moments.\u003c/p>\n\u003cfigure id=\"attachment_13186599\" 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/photos-by-joan-marcus-800x531.jpg\" alt=\"'Charlie and the Chocolate Factory' has already announced plans for a national tour\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13186599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Charlie and the Chocolate Factory’ has already announced plans for a national tour \u003ccite>(Joan Marcus/Polk & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And kids seem to like \u003cem>Charlie and the Chocolate Factory,\u003c/em> too. That show has a \u003cem>mostly\u003c/em> new score by the songwriting team of Scott Wittman and Marc Shaiman, who wrote the successful musical \u003cem>Hairspray\u003c/em>. They say adapting a film musical that people grew up with has its own set of expectations.\u003c/p>\n\u003cp>Shaiman says when he and Wittman told friends they were writing the score to a new version of \u003cem>Charlie and the Chocolate Factory\u003c/em> those friends would inevitably start singing favorite songs from the 1971 Gene Wilder film \u003cem>Willy Wonka & the Chocolate Factory.\u003c/em>\u003c/p>\n\u003cp>When \u003cem>Charlie\u003c/em> debuted in London it featured the song “Pure Imagination,” from the 1971 film. For the heavily-revised Broadway version, other songs have also been added. Jack O’Brien, the show’s new director, says he used “Pure Imagination” as a kind of mantra, for the less extravagant Broadway production.\u003c/p>\n\u003cp>“I think that we’ve embraced a different theme here,” O’Brien explains. “Which is the idea of imagination. Charlie and Grandpa Joe talk about, you know, we both make something out of nothing. That really attracted me to this version of the story.”\u003c/p>\n\u003cp>\u003cem>Charlie and the Chocolate Factory\u003c/em> has been doing bang-up business, too. It’s the kids — and the parents who pay for the tickets — who will ultimately decide if \u003cem>Anastasia\u003c/em> and \u003cem>Charlie and the Chocolate Factory \u003c/em>have long healthy runs. Eileen Young, from Fairfield, Conn., brought her 7-year-old daughter and a friend.\u003c/p>\n\u003cp>“It’s \u003cem>Charlie and the Chocolate Factory! \u003c/em>How do you \u003cem>not\u003c/em> come?” Young says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Bros. is so confident in the show’s appeal to family audiences, that they’ve already announced \u003cem>Charlie and the Chocolate Factory\u003c/em>‘s national tour. \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=When+It+Comes+To+Family+Musicals%2C+Kids%27+Opinions+Matter+More+Than+Critics%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Normally, critical reviews can kill a Broadway show, but not so for kid-focused musicals. \u003cem>Anastasia \u003c/em>and \u003cem>Charlie and the Chocolate Factory \u003c/em>are currently on Broadway, vying for the kid seal of approval.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creating a hit musical which appeals to family audiences is kind of Broadway’s holy grail — think current long-running shows, like \u003cem>The Lion King\u003c/em> and \u003cem>Wicked,\u003c/em> which have run for decades\u003cem>, \u003c/em>or earlier shows like \u003cem>Cats\u003c/em> and \u003cem>Annie\u003c/em>. Critics don’t always give these shows good reviews, but that doesn’t seem to matter much. Now, two new musicals are aiming to get the kid stamp of approval.\u003c/p>\n\u003cp>On a recent Friday evening families poured onto 46th Street after a performance of \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Charlie and the Chocolate Factory\u003c/a>. Taylor Ponte, a tween from Manhattan, offered her thoughts: “I liked it a lot. And I liked the part where she blew up like a balloon. I liked all of it.”\u003c/p>\n\u003cp>This kind of reaction is why Warner Bros., which is producing the show, brought it to Broadway. The adaptation of Roald Dahl’s beloved children’s book could be something of a golden ticket for them — creating a hit which runs for years, goes on tours in the U.S. and overseas, and sells tons of merchandise. But some of the critics \u003ca href=\"http://www.hollywoodreporter.com/review/charlie-chocolate-factory-theater-996618\" target=\"_blank\" rel=\"noopener\">weren’t impressed\u003c/a>.\u003c/p>\n\u003cp>“I loathed the show,” says David Rooney, chief theater critic for \u003cem>The Hollywood Reporter\u003c/em>. “I thought it was a complete mess.”\u003c/p>\n\u003cp>Family musicals have been big business on Broadway, ever since Disney presented a stage adaptation of \u003cem>Beauty and the Beast\u003c/em> in 1994.\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 roll their eyes about what Disney does on Broadway,” says Rooney. “But I think for the most part they do it very well.”\u003c/p>\n\u003cp>Disney shows like \u003cem>The Lion King\u003c/em> and \u003cem>Aladdin \u003c/em>give audiences a lot of bang for their buck.\u003c/p>\n\u003cp>“I think a family buying Broadway tickets want to see what they’re spending their money on,” Rooney explains. “They want to see a production that has energy and that has spectacle and that will dazzle the kids and I think Disney knows how to do that. They work hard at doing that. And I would imagine that \u003cem>Frozen\u003c/em> is going to be along those lines.”\u003c/p>\n\u003cp>\u003cem>Frozen\u003c/em> doesn’t open until next spring, but this spring, \u003cem>Charlie and the Chocolate Factory\u003c/em> is duking it out with a stage adaptation of \u003cem>Anastasia\u003c/em>, the 1997 Fox animated film — Rooney gave that one \u003ca href=\"http://www.hollywoodreporter.com/review/anastasia-theater-review-996856\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>There’s a real fluid cinematic feel to it, but the material is what it is,” he says. “It’s kind of clunky. It’s kind of old fashioned. It’s a little bit kitsch.”\u003c/p>\n\u003cp>But it’s been selling out, so it could be critic-proof — and Rooney admits it. When he saw \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Anastasia\u003c/a>\u003cem>,\u003c/em> the girls in the audience responded — loudly — to many moments.\u003c/p>\n\u003cfigure id=\"attachment_13186599\" 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/photos-by-joan-marcus-800x531.jpg\" alt=\"'Charlie and the Chocolate Factory' has already announced plans for a national tour\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13186599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Charlie and the Chocolate Factory’ has already announced plans for a national tour \u003ccite>(Joan Marcus/Polk & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And kids seem to like \u003cem>Charlie and the Chocolate Factory,\u003c/em> too. That show has a \u003cem>mostly\u003c/em> new score by the songwriting team of Scott Wittman and Marc Shaiman, who wrote the successful musical \u003cem>Hairspray\u003c/em>. They say adapting a film musical that people grew up with has its own set of expectations.\u003c/p>\n\u003cp>Shaiman says when he and Wittman told friends they were writing the score to a new version of \u003cem>Charlie and the Chocolate Factory\u003c/em> those friends would inevitably start singing favorite songs from the 1971 Gene Wilder film \u003cem>Willy Wonka & the Chocolate Factory.\u003c/em>\u003c/p>\n\u003cp>When \u003cem>Charlie\u003c/em> debuted in London it featured the song “Pure Imagination,” from the 1971 film. For the heavily-revised Broadway version, other songs have also been added. Jack O’Brien, the show’s new director, says he used “Pure Imagination” as a kind of mantra, for the less extravagant Broadway production.\u003c/p>\n\u003cp>“I think that we’ve embraced a different theme here,” O’Brien explains. “Which is the idea of imagination. Charlie and Grandpa Joe talk about, you know, we both make something out of nothing. That really attracted me to this version of the story.”\u003c/p>\n\u003cp>\u003cem>Charlie and the Chocolate Factory\u003c/em> has been doing bang-up business, too. It’s the kids — and the parents who pay for the tickets — who will ultimately decide if \u003cem>Anastasia\u003c/em> and \u003cem>Charlie and the Chocolate Factory \u003c/em>have long healthy runs. Eileen Young, from Fairfield, Conn., brought her 7-year-old daughter and a friend.\u003c/p>\n\u003cp>“It’s \u003cem>Charlie and the Chocolate Factory! \u003c/em>How do you \u003cem>not\u003c/em> come?” Young says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Bros. is so confident in the show’s appeal to family audiences, that they’ve already announced \u003cem>Charlie and the Chocolate Factory\u003c/em>‘s national tour. \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=When+It+Comes+To+Family+Musicals%2C+Kids%27+Opinions+Matter+More+Than+Critics%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Crayola Gives The People What They Want: A New Blue Crayon",
"headTitle": "Crayola Gives The People What They Want: A New Blue Crayon | KQED",
"content": "\u003cp>If you were feeling blue after Crayola’s March announcement that the company would be \u003ca href=\"http://www.npr.org/2017/03/30/522080531/with-one-large-breath-dandelion-is-blown-out-of-crayolas-24-pack\" target=\"_blank\" rel=\"noopener\">retiring the bright yellow hue, Dandelion,\u003c/a> you’ll soon have a new blue crayon to color in your tears with.\u003c/p>\n\u003cp>The company announced in March that a member of the blue family would take Dandelion’s spot, but the specifics were lacking, until now. On Friday, Crayola announced that the new blue is inspired by the YInMn blue pigment.\u003c/p>\n\u003cp>Not familiar with YInMn? Don’t worry, it’s pretty new to the color scene. The pigment was discovered by accident in 2009 at Oregon State University in a chemistry lab run by Mas Subramanian, a professor in materials science, and his graduate students. Accident or not, Crayola liked the new hue.\u003c/p>\n\u003cp>“When we knew that we would be retiring one of our colors from our broad color palette we also wanted to insure that the new color that we brought into our color spectrum was fresh, inspiring and most important innovative,” says Karen Waters, Crayola’s director of content, PR and social marketing. “With all of the attention drawn to the pigment that Mas and his team discovered, there was no better team to reach out to.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/07/16/485696248/a-chemist-accidentally-creates-a-new-blue-then-what\" target=\"_blank\" rel=\"noopener\">As NPR reported in 2016,\u003c/a> the group of chemists had been mixing and heating different chemicals while they worked to find a new material to be used in electronics. One particular sample, after being heated to 2,000 degrees Fahrenheit, came out a bright blue color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name YInMn comes from yttrium, indium and manganese oxides, the different elements that compose the pigment.\u003c/p>\n\u003cp>It’s important to note that Crayola’s color is only inspired by YInMn because the pigment can’t be added to paints and materials just yet.\u003c/p>\n\u003cp>“Because this is such an innovative and recently discovered pigment it is in the process of regulatory approval, so once the approvals are complete, we’ll experiment all the different possibilities,” Waters says.\u003c/p>\n\u003cp>Subramanian is also hoping the new blue crayon will show children how creative science experimentation can be and what it can lead to.\u003c/p>\n\u003cp>This crayon — which doesn’t have a name yet — will join four other blues in the 24-count box. Crayola decided to dump Dandelion and add a new hue of blue, after polls showed that’s what people wanted.\u003c/p>\n\u003cp>“Fans in North America have told us through previous polls and surveys that blue is their favorite color,” says Melanie Boulden, a senior vice president.\u003c/p>\n\u003cp>Now if you just love blue and are still tickled pink about this new hue you could have a chance to help name it. Crayola is \u003ca href=\"http://www.crayola.com/splash/promos/newcolor\" target=\"_blank\" rel=\"noopener\">taking submissions\u003c/a> about what the new blue should be named until June 2. On July 1, the top five names will be announced and then voting will begin.\u003c/p>\n\u003cp>Fans won’t know the new name until September and the lovely hue of blue won’t be available until late 2017.\u003c/p>\n\u003cp>As for Dandelion, the bright yella fella continues his retirement tour. Immediately after the retirement announcement Crayola started selling 64-packs where all the crayons are Dandelion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, this retirement leaves only one yellow crayon — literally the yellow one — in the group of 24. Crayola has said that it’s always possible new colors will be added, but did not say they had any immediate plans to introduce another yellow. If they do, can we all agree that Green Yellow should be the next crayon to go? \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=Crayola+Gives+The+People+What+They+Want%3A+A+New+Blue+Crayon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were feeling blue after Crayola’s March announcement that the company would be \u003ca href=\"http://www.npr.org/2017/03/30/522080531/with-one-large-breath-dandelion-is-blown-out-of-crayolas-24-pack\" target=\"_blank\" rel=\"noopener\">retiring the bright yellow hue, Dandelion,\u003c/a> you’ll soon have a new blue crayon to color in your tears with.\u003c/p>\n\u003cp>The company announced in March that a member of the blue family would take Dandelion’s spot, but the specifics were lacking, until now. On Friday, Crayola announced that the new blue is inspired by the YInMn blue pigment.\u003c/p>\n\u003cp>Not familiar with YInMn? Don’t worry, it’s pretty new to the color scene. The pigment was discovered by accident in 2009 at Oregon State University in a chemistry lab run by Mas Subramanian, a professor in materials science, and his graduate students. Accident or not, Crayola liked the new hue.\u003c/p>\n\u003cp>“When we knew that we would be retiring one of our colors from our broad color palette we also wanted to insure that the new color that we brought into our color spectrum was fresh, inspiring and most important innovative,” says Karen Waters, Crayola’s director of content, PR and social marketing. “With all of the attention drawn to the pigment that Mas and his team discovered, there was no better team to reach out to.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/07/16/485696248/a-chemist-accidentally-creates-a-new-blue-then-what\" target=\"_blank\" rel=\"noopener\">As NPR reported in 2016,\u003c/a> the group of chemists had been mixing and heating different chemicals while they worked to find a new material to be used in electronics. One particular sample, after being heated to 2,000 degrees Fahrenheit, came out a bright blue color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The name YInMn comes from yttrium, indium and manganese oxides, the different elements that compose the pigment.\u003c/p>\n\u003cp>It’s important to note that Crayola’s color is only inspired by YInMn because the pigment can’t be added to paints and materials just yet.\u003c/p>\n\u003cp>“Because this is such an innovative and recently discovered pigment it is in the process of regulatory approval, so once the approvals are complete, we’ll experiment all the different possibilities,” Waters says.\u003c/p>\n\u003cp>Subramanian is also hoping the new blue crayon will show children how creative science experimentation can be and what it can lead to.\u003c/p>\n\u003cp>This crayon — which doesn’t have a name yet — will join four other blues in the 24-count box. Crayola decided to dump Dandelion and add a new hue of blue, after polls showed that’s what people wanted.\u003c/p>\n\u003cp>“Fans in North America have told us through previous polls and surveys that blue is their favorite color,” says Melanie Boulden, a senior vice president.\u003c/p>\n\u003cp>Now if you just love blue and are still tickled pink about this new hue you could have a chance to help name it. Crayola is \u003ca href=\"http://www.crayola.com/splash/promos/newcolor\" target=\"_blank\" rel=\"noopener\">taking submissions\u003c/a> about what the new blue should be named until June 2. On July 1, the top five names will be announced and then voting will begin.\u003c/p>\n\u003cp>Fans won’t know the new name until September and the lovely hue of blue won’t be available until late 2017.\u003c/p>\n\u003cp>As for Dandelion, the bright yella fella continues his retirement tour. Immediately after the retirement announcement Crayola started selling 64-packs where all the crayons are Dandelion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, this retirement leaves only one yellow crayon — literally the yellow one — in the group of 24. Crayola has said that it’s always possible new colors will be added, but did not say they had any immediate plans to introduce another yellow. If they do, can we all agree that Green Yellow should be the next crayon to go? \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=Crayola+Gives+The+People+What+They+Want%3A+A+New+Blue+Crayon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The cinema began as a medium of pure titillation, so it’s unlikely Ben Wheatley’s agreeably amoral comic thriller \u003cem>Free Fire\u003c/em> is the movies’ first-ever feature-length gunfight. I sure can’t think of another one, though. An account of a weapons deal up north that quickly goes south, the movie’s taut 85 minutes unfold in something close to real time in a dingy Boston warehouse, where armed-and-untrustworthy factions attempt to outshoot or outlast one another. Although set in the early 70s, it feels like a product of the mid-90s, when the one-two of \u003cem>Reservoir Dogs\u003c/em> and \u003cem>Pulp Fiction\u003c/em> begat a wave of violent, formally ambitious indie comedies about loquacious killers and thieves.\u003c/p>\n\u003cp>Weirdly, it is also the second Nixon-era movie currently in theaters to feature Brie Larson and to use Creedence Clearwater Revival’s “Run Through the Jungle” on the soundtrack. The other one is \u003cem>Kong: Skull Island\u003c/em>, a movie (1) set in a jungle that (2) features a lot more running than \u003cem>Free Fire\u003c/em> does. \u003cem>Free Fire\u003c/em> is all crawling and cowering and cursing, and nursing open wounds and occasionally shooting. Or trying to, but all the smoke is making your eyes water and your nose run, and you just cut your hand open on a shard of glass. It might be the most realistic movie gun battle ever.\u003c/p>\n\u003cp>The gun buyer, Cillian Murphy, is affiliated with the Irish Republican Army, and the gun seller, Sharlto Copley, hails from South Africa at the midpoint of apartheid. (“Africa’s not for sissies!” he declaims.) But there’s no real reason for Wheatley, who wrote the barbed screenplay with his frequent collaborator (and spouse) Amy Jump, to have gone to the trouble of setting this thing 45 years in the past. Unless the reason is simply that its appealing company of not-quite-stars — Larson, Murphy, Armie Hammer, Sam Riley — all look sharp in polyester. Shaggy mustaches for the menfolk, a flowing scarf for Larson, high caliber lapels all around. Like chambers in the cylinder of a revolver, every era of fashion and of filmmaking periodically returns to flower again.\u003c/p>\n\u003cp>Firearms, of course, have been fetishized in movies like no other manmade object. (See also \u003cem>John Wick\u003c/em>, an art film about shooting people in the face.) But like its Tarantinian forebears, the grisly, R-rated \u003cem>Free Fire\u003c/em> remembers what so many bloodless PG-13 action films do not: That long guns and pistols and shotguns are savage tools, meant to spare us the ancient labor of strangling or biting one another to death. (People resort to strangling and biting in this movie, as bullets and inhibitions are exhausted.) If not properly maintained, they are also just as prone to failure as the people wielding them. Wheatley, who previously made the set-all-in-one-building sci-fi satire \u003cem>High Rise\u003c/em>, presents guns as projections of unearned power, wielded inexpertly, by buffoons. Guns are both the MacGuffin and the mode, here. If the deal depicted had gone smoothly, and Murphy’s character had been able to take his shipment of assault rifles back to Belfast, would the campaign these weapons serve have been any less chaotic and futile than the exchange of hostilities satirized here? It’s an awfully oblique way to deliver an anti-gun homily, but a smart one.\u003c/p>\n\u003cp>Sound design is key to the mordant humor of this film. When characters shout negotiations or insults at one another, the simple fact that they sound like they’re crouched behind some object some distance away makes these exchanges funnier. The whole thing is awfully nihilistic, but that’s film noir for you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cinema began as a medium of pure titillation, so it’s unlikely Ben Wheatley’s agreeably amoral comic thriller \u003cem>Free Fire\u003c/em> is the movies’ first-ever feature-length gunfight. I sure can’t think of another one, though. An account of a weapons deal up north that quickly goes south, the movie’s taut 85 minutes unfold in something close to real time in a dingy Boston warehouse, where armed-and-untrustworthy factions attempt to outshoot or outlast one another. Although set in the early 70s, it feels like a product of the mid-90s, when the one-two of \u003cem>Reservoir Dogs\u003c/em> and \u003cem>Pulp Fiction\u003c/em> begat a wave of violent, formally ambitious indie comedies about loquacious killers and thieves.\u003c/p>\n\u003cp>Weirdly, it is also the second Nixon-era movie currently in theaters to feature Brie Larson and to use Creedence Clearwater Revival’s “Run Through the Jungle” on the soundtrack. The other one is \u003cem>Kong: Skull Island\u003c/em>, a movie (1) set in a jungle that (2) features a lot more running than \u003cem>Free Fire\u003c/em> does. \u003cem>Free Fire\u003c/em> is all crawling and cowering and cursing, and nursing open wounds and occasionally shooting. Or trying to, but all the smoke is making your eyes water and your nose run, and you just cut your hand open on a shard of glass. It might be the most realistic movie gun battle ever.\u003c/p>\n\u003cp>The gun buyer, Cillian Murphy, is affiliated with the Irish Republican Army, and the gun seller, Sharlto Copley, hails from South Africa at the midpoint of apartheid. (“Africa’s not for sissies!” he declaims.) But there’s no real reason for Wheatley, who wrote the barbed screenplay with his frequent collaborator (and spouse) Amy Jump, to have gone to the trouble of setting this thing 45 years in the past. Unless the reason is simply that its appealing company of not-quite-stars — Larson, Murphy, Armie Hammer, Sam Riley — all look sharp in polyester. Shaggy mustaches for the menfolk, a flowing scarf for Larson, high caliber lapels all around. Like chambers in the cylinder of a revolver, every era of fashion and of filmmaking periodically returns to flower again.\u003c/p>\n\u003cp>Firearms, of course, have been fetishized in movies like no other manmade object. (See also \u003cem>John Wick\u003c/em>, an art film about shooting people in the face.) But like its Tarantinian forebears, the grisly, R-rated \u003cem>Free Fire\u003c/em> remembers what so many bloodless PG-13 action films do not: That long guns and pistols and shotguns are savage tools, meant to spare us the ancient labor of strangling or biting one another to death. (People resort to strangling and biting in this movie, as bullets and inhibitions are exhausted.) If not properly maintained, they are also just as prone to failure as the people wielding them. Wheatley, who previously made the set-all-in-one-building sci-fi satire \u003cem>High Rise\u003c/em>, presents guns as projections of unearned power, wielded inexpertly, by buffoons. Guns are both the MacGuffin and the mode, here. If the deal depicted had gone smoothly, and Murphy’s character had been able to take his shipment of assault rifles back to Belfast, would the campaign these weapons serve have been any less chaotic and futile than the exchange of hostilities satirized here? It’s an awfully oblique way to deliver an anti-gun homily, but a smart one.\u003c/p>\n\u003cp>Sound design is key to the mordant humor of this film. When characters shout negotiations or insults at one another, the simple fact that they sound like they’re crouched behind some object some distance away makes these exchanges funnier. The whole thing is awfully nihilistic, but that’s film noir for you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kevin Garcia, the original and longtime bassist for the band Grandaddy has died. He was 41 years old. Garcia suffered a massive stroke on Monday and was admitted to the Doctors Medical Center in Modesto, Calif. According to a \u003ca href=\"https://www.gofundme.com/friends-of-kevin-garcia\" target=\"_blank\" rel=\"noopener\">Gofundme page\u003c/a> started in his name, he succumbed to the effects of the stroke Tuesday afternoon.\u003c/p>\n\u003cp>The band confirmed Garcia’s death on its \u003ca href=\"https://www.facebook.com/grandaddymusic/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with a statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“There are no accurate words to express what we need to. We are absolutely shattered to say that we lost our friend and band mate Kevin Garcia early this afternoon. He succumbed to the effects of a massive stroke. We were all able to say goodbye to him and he was surrounded by his closest friends and family here in Modesto.\u003c/p>\n\u003cp>Kevin started playing with Grandaddy when he was fifteen. He was an actual angel. He navigated life with a grace, a generosity and a kindness that was utterly unique. And contagious. He is loved so deeply by so many. Kevin was a proud father of two children, Jayden and Gavin. He is survived by his grandmother Joan, his parents Randy and Barbara (who let us practice at their house until 2001 and who are the best), his brothers Craig and Jeff and his wife Sondra.\u003c/p>\n\u003cp>We’ll have more to say in the days ahead. Right now the four of us are grieving together. With great sadness and love, Grandaddy”\u003c/p>\n\u003c/blockquote>\n\u003cp>Grandaddy returned earlier this year after a 10-year hiatus with a new album, \u003cem>Last Place\u003c/em>, and has been on tour with dates scheduled through the summer. \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=Grandaddy+Bassist+Kevin+Garcia+Dies+After+Suffering+Stroke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kevin Garcia, the original and longtime bassist for the band Grandaddy has died. He was 41 years old. Garcia suffered a massive stroke on Monday and was admitted to the Doctors Medical Center in Modesto, Calif. According to a \u003ca href=\"https://www.gofundme.com/friends-of-kevin-garcia\" target=\"_blank\" rel=\"noopener\">Gofundme page\u003c/a> started in his name, he succumbed to the effects of the stroke Tuesday afternoon.\u003c/p>\n\u003cp>The band confirmed Garcia’s death on its \u003ca href=\"https://www.facebook.com/grandaddymusic/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with a statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“There are no accurate words to express what we need to. We are absolutely shattered to say that we lost our friend and band mate Kevin Garcia early this afternoon. He succumbed to the effects of a massive stroke. We were all able to say goodbye to him and he was surrounded by his closest friends and family here in Modesto.\u003c/p>\n\u003cp>Kevin started playing with Grandaddy when he was fifteen. He was an actual angel. He navigated life with a grace, a generosity and a kindness that was utterly unique. And contagious. He is loved so deeply by so many. Kevin was a proud father of two children, Jayden and Gavin. He is survived by his grandmother Joan, his parents Randy and Barbara (who let us practice at their house until 2001 and who are the best), his brothers Craig and Jeff and his wife Sondra.\u003c/p>\n\u003cp>We’ll have more to say in the days ahead. Right now the four of us are grieving together. With great sadness and love, Grandaddy”\u003c/p>\n\u003c/blockquote>\n\u003cp>Grandaddy returned earlier this year after a 10-year hiatus with a new album, \u003cem>Last Place\u003c/em>, and has been on tour with dates scheduled through the summer. \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=Grandaddy+Bassist+Kevin+Garcia+Dies+After+Suffering+Stroke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last week, \u003ca href=\"http://www.npr.org/artists/122029835/pharrell-williams\" target=\"_blank\" rel=\"noopener\">Pharrell Williams\u003c/a> made history as the first man to ever front a handbag campaign for Chanel. In a \u003ca href=\"https://www.youtube.com/watch?v=EsrSVuY6Fto\" target=\"_blank\" rel=\"noopener\">video released\u003c/a> by the historic Parisian fashion house, the musician enters an empty soundstage wearing one of the brand’s tweed blazers, while the camera pans to the black alligator and lambskin hobo bag hanging beside him. Though Kristen Stewart, Cara Delevingne and couture muse Caroline de Maigret will also take part in the campaign, Karl Lagerfeld, who has helmed Chanel since 1983, said his intention was to show that the bag can be worn in “many different circumstances.” For instance, by men who may (or may not) be 11-time Grammy winners.\u003c/p>\n\u003cp>The partnership comes as gender binaries have become increasingly conflated on the runways over the past two years. Alessandro Michele’s \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-menswear/gucci/slideshow/collection#21\" target=\"_blank\" rel=\"noopener\">Gucci collections\u003c/a> — an androgynous combustion of sequins, lace and all-over mesh — and \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/calvin-klein#collection\" target=\"_blank\" rel=\"noopener\">Raf Simons’ debut runway for Calvin Klein\u003c/a> in February are two highly successful recent examples that have palpably set a different tone on the red carpet. Comfortably wearing Chanel womenswear isn’t entirely new for Pharrell either; he sported a peach tweed blazer for the 2016 Grammy Awards, walked the Metiers d’Art pre-fall runway in December at the Ritz Paris and regularly piles on the brand’s fine jewelry. He also dipped his toes in the unisex footwear market last year, creating a collection of super-saturated \u003ca href=\"http://footwearnews.com/2015/fashion/athletic-outdoor/pharrells-adidas-originals-supercolor-superstar-pack-19746/\" target=\"_blank\" rel=\"noopener\">Stan Smith sneakers for Adidas\u003c/a>, part of a partnership going back to 2014, that sold out in less than 48 hours.\u003c/p>\n\u003cp>https://www.instagram.com/p/BTm-74alTYt/\u003c/p>\n\u003cp>But Adidas sneakers — which have been part of the hip-hop conversation since before Run DMC’s \u003ca href=\"https://www.youtube.com/watch?v=JNua1lFDuDI\" target=\"_blank\" rel=\"noopener\">1986 song “My Adidas”\u003c/a> — are one thing. That the guy who got his start as one-half of the Neptunes and subsequently went on to produce music for Jay Z is suggesting straight men can and \u003cem>should\u003c/em> make their girlfriend’s handbag their own? It goes completely against the historically masculine core and “the clearly defined gender roles within the hip-hop world,” says Elena Romero, an Adjunct Assistant Professor at the Fashion Institute of Technology and the author of \u003cem>Free Stylin’: How Hip Hop Changed the Fashion Industry\u003c/em>.\u003c/p>\n\u003cp>You could argue that Pharrell’s Chanel is yet another thread woven into the long-established practice of male hip-hop artists challenging – or reorienting — gender identity and the associations of certain pieces by incorporating traditionally female elements into their aesthetic. Take, for example, the diamond studs that became a symbol of machismo and success in the 90’s when worn by hip-hop moguls like P. Diddy, Tupac and Jay Z. The adoption of skinny jeans in lieu of the oversized is another far-reaching, highly noticeable shift. Lace, which was historically worn by men in the 17th century to connote wealth and later\u003cstrong> \u003c/strong>came to epitomize bridal femininity, became bohemian when worn by Jimi Hendrix and flamboyant through Prince. But it was Wiz Khalifa, a burgeoning style star with a street-meets-stoner flare, who made the textile edgy when he sported an unbuttoned black lace blouse by Saint Laurent’s Hedi Slimane. (Khalifa’s style consultant \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/6866036/ian-connor-talks-working-kanye-west-waves\" target=\"_blank\" rel=\"noopener\">eventually went to work for Kanye\u003c/a>.) The heavily tattooed Atlanta rapper Young Thug, who has drawn comparisons to Andre 3000, stunned by slipping into a heavily ruffled Alessandro Trincone gown for the \u003ca href=\"https://itunes.apple.com/us/album/jeffery/id1146718343\" target=\"_blank\" rel=\"noopener\">cover of his 2016 mixtape\u003c/a>. And Jaden Smith, who has long promoted the importance of experimenting with personal style, wore head-to-toe womenswear for \u003ca href=\"https://www.fastcompany.com/3055076/jaden-smith-is-the-new-face-of-louis-vuitton-womenswear\" target=\"_blank\" rel=\"noopener\">Louis Vuitton’s Summer/Spring 2016 Final Fantasy-themed campaign\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether or not you consider each of these to be fashion anomalies, they are all statements on masculinity within the hip-hop world.\u003c/p>\n\u003cp>But should we expect these boundaries to continue blurring? Romero doesn’t think so. “There are several artists who have taken fashion to an extreme — think Pharrell, Kanye, A$AP Rocky. However, eclectic dressing is for a few. I don’t see the average hip-hop head ever wearing skirts or traditional women’s clothes. Most guys look at this as being ‘gay’ and socially unacceptable.”\u003c/p>\n\u003cp>Instead, she points to early female rappers as the ones who had the greatest impact on gender identity. “In the early days of hip-hop, most young ladies dressed like the fellas, myself included. The exception would be the hairstyle and the accessories. We wore brass buckle name belts, shell-top Adidas, colored Lee jeans and Le Tigré shirts, sheepskin coats, and gazelle-style glasses just like the guys,” she says. “To some degree, early women in hip-hop dressed down as a way to fit in with the boys — whether through music, dance, or art. Once able to be comfortable in the spotlight, there was room to experiment.”\u003c/p>\n\u003cp>Essentially, early female hip-hop pioneers wanted to communicate the strength of their lyrical abilities, and therefore downplayed their sexuality as a means of letting their talent shine. Romero cites Roxanne Shante, Salt-N-Pepa, MC Lyte, and Queen Latifah — who brought an afro-centric sensibility — as examples. “Missy Elliot was super sporty,” she says. B-girls like Rokafella, as her name implied, had to ‘Rock like the fellas.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the hip-hop world’s greatest problems, she says, is the over-sexualization of the black body and the notion that “selling sex is equally as important as demonstrating lyrical talent.” So while Pharrell’s decision to proudly wear the $4,000 Chanel handbag hopefully inspires more men to keep experimenting, maybe it’s time for women MC’s to start making their way into menswear campaigns. \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=Is+Pharrell%2C+The+First+Man+To+Model+A+Chanel+Bag%2C+Pushing+Any+Boundaries%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, \u003ca href=\"http://www.npr.org/artists/122029835/pharrell-williams\" target=\"_blank\" rel=\"noopener\">Pharrell Williams\u003c/a> made history as the first man to ever front a handbag campaign for Chanel. In a \u003ca href=\"https://www.youtube.com/watch?v=EsrSVuY6Fto\" target=\"_blank\" rel=\"noopener\">video released\u003c/a> by the historic Parisian fashion house, the musician enters an empty soundstage wearing one of the brand’s tweed blazers, while the camera pans to the black alligator and lambskin hobo bag hanging beside him. Though Kristen Stewart, Cara Delevingne and couture muse Caroline de Maigret will also take part in the campaign, Karl Lagerfeld, who has helmed Chanel since 1983, said his intention was to show that the bag can be worn in “many different circumstances.” For instance, by men who may (or may not) be 11-time Grammy winners.\u003c/p>\n\u003cp>The partnership comes as gender binaries have become increasingly conflated on the runways over the past two years. Alessandro Michele’s \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-menswear/gucci/slideshow/collection#21\" target=\"_blank\" rel=\"noopener\">Gucci collections\u003c/a> — an androgynous combustion of sequins, lace and all-over mesh — and \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/calvin-klein#collection\" target=\"_blank\" rel=\"noopener\">Raf Simons’ debut runway for Calvin Klein\u003c/a> in February are two highly successful recent examples that have palpably set a different tone on the red carpet. Comfortably wearing Chanel womenswear isn’t entirely new for Pharrell either; he sported a peach tweed blazer for the 2016 Grammy Awards, walked the Metiers d’Art pre-fall runway in December at the Ritz Paris and regularly piles on the brand’s fine jewelry. He also dipped his toes in the unisex footwear market last year, creating a collection of super-saturated \u003ca href=\"http://footwearnews.com/2015/fashion/athletic-outdoor/pharrells-adidas-originals-supercolor-superstar-pack-19746/\" target=\"_blank\" rel=\"noopener\">Stan Smith sneakers for Adidas\u003c/a>, part of a partnership going back to 2014, that sold out in less than 48 hours.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But Adidas sneakers — which have been part of the hip-hop conversation since before Run DMC’s \u003ca href=\"https://www.youtube.com/watch?v=JNua1lFDuDI\" target=\"_blank\" rel=\"noopener\">1986 song “My Adidas”\u003c/a> — are one thing. That the guy who got his start as one-half of the Neptunes and subsequently went on to produce music for Jay Z is suggesting straight men can and \u003cem>should\u003c/em> make their girlfriend’s handbag their own? It goes completely against the historically masculine core and “the clearly defined gender roles within the hip-hop world,” says Elena Romero, an Adjunct Assistant Professor at the Fashion Institute of Technology and the author of \u003cem>Free Stylin’: How Hip Hop Changed the Fashion Industry\u003c/em>.\u003c/p>\n\u003cp>You could argue that Pharrell’s Chanel is yet another thread woven into the long-established practice of male hip-hop artists challenging – or reorienting — gender identity and the associations of certain pieces by incorporating traditionally female elements into their aesthetic. Take, for example, the diamond studs that became a symbol of machismo and success in the 90’s when worn by hip-hop moguls like P. Diddy, Tupac and Jay Z. The adoption of skinny jeans in lieu of the oversized is another far-reaching, highly noticeable shift. Lace, which was historically worn by men in the 17th century to connote wealth and later\u003cstrong> \u003c/strong>came to epitomize bridal femininity, became bohemian when worn by Jimi Hendrix and flamboyant through Prince. But it was Wiz Khalifa, a burgeoning style star with a street-meets-stoner flare, who made the textile edgy when he sported an unbuttoned black lace blouse by Saint Laurent’s Hedi Slimane. (Khalifa’s style consultant \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/6866036/ian-connor-talks-working-kanye-west-waves\" target=\"_blank\" rel=\"noopener\">eventually went to work for Kanye\u003c/a>.) The heavily tattooed Atlanta rapper Young Thug, who has drawn comparisons to Andre 3000, stunned by slipping into a heavily ruffled Alessandro Trincone gown for the \u003ca href=\"https://itunes.apple.com/us/album/jeffery/id1146718343\" target=\"_blank\" rel=\"noopener\">cover of his 2016 mixtape\u003c/a>. And Jaden Smith, who has long promoted the importance of experimenting with personal style, wore head-to-toe womenswear for \u003ca href=\"https://www.fastcompany.com/3055076/jaden-smith-is-the-new-face-of-louis-vuitton-womenswear\" target=\"_blank\" rel=\"noopener\">Louis Vuitton’s Summer/Spring 2016 Final Fantasy-themed campaign\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether or not you consider each of these to be fashion anomalies, they are all statements on masculinity within the hip-hop world.\u003c/p>\n\u003cp>But should we expect these boundaries to continue blurring? Romero doesn’t think so. “There are several artists who have taken fashion to an extreme — think Pharrell, Kanye, A$AP Rocky. However, eclectic dressing is for a few. I don’t see the average hip-hop head ever wearing skirts or traditional women’s clothes. Most guys look at this as being ‘gay’ and socially unacceptable.”\u003c/p>\n\u003cp>Instead, she points to early female rappers as the ones who had the greatest impact on gender identity. “In the early days of hip-hop, most young ladies dressed like the fellas, myself included. The exception would be the hairstyle and the accessories. We wore brass buckle name belts, shell-top Adidas, colored Lee jeans and Le Tigré shirts, sheepskin coats, and gazelle-style glasses just like the guys,” she says. “To some degree, early women in hip-hop dressed down as a way to fit in with the boys — whether through music, dance, or art. Once able to be comfortable in the spotlight, there was room to experiment.”\u003c/p>\n\u003cp>Essentially, early female hip-hop pioneers wanted to communicate the strength of their lyrical abilities, and therefore downplayed their sexuality as a means of letting their talent shine. Romero cites Roxanne Shante, Salt-N-Pepa, MC Lyte, and Queen Latifah — who brought an afro-centric sensibility — as examples. “Missy Elliot was super sporty,” she says. B-girls like Rokafella, as her name implied, had to ‘Rock like the fellas.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the hip-hop world’s greatest problems, she says, is the over-sexualization of the black body and the notion that “selling sex is equally as important as demonstrating lyrical talent.” So while Pharrell’s decision to proudly wear the $4,000 Chanel handbag hopefully inspires more men to keep experimenting, maybe it’s time for women MC’s to start making their way into menswear campaigns. \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=Is+Pharrell%2C+The+First+Man+To+Model+A+Chanel+Bag%2C+Pushing+Any+Boundaries%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Fyre's Organizers Used 'Influencers' to Market a Festival that Didn't Exist",
"headTitle": "How Fyre’s Organizers Used ‘Influencers’ to Market a Festival that Didn’t Exist | KQED",
"content": "\u003cp>Last fall, at the Web Summit tech conference in Lisbon, Portugal, the rapper Ja Rule \u003ca href=\"https://business.facebook.com/WebSummitHQ/posts/1215635168502525?business_id=10152715627857913\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> a small audience seated in front of the event’s music stage: “I’ll let my partner-in-crime here Billy McFarland give you all an introduction of what Fyre is.” At the time, Ja Rule and McFarland were promoting an app that would, we now know, share its name with one of the least-successful music events in recent memory, currently the subject of a \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener\">$100 million lawsuit\u003c/a>. The Fyre app, like McFarland’s other venture Magnesis (a rarefied “concierge” for the young, beautiful and hip), is directed at “young urban professionals” and “influencers” (brace yourself to see that word a \u003cem>lot\u003c/em>). The app allowed promoters, venues or just whomever to book artists for small, lucrative shows for small, well-heeled audiences — much like the concept that underpinned the event with which it now indelibly shares a name.\u003c/p>\n\u003cp>In the social media-driven present, these influencers are one-person marketing vehicles for all types of products, capitalizing on conventionally attractive faces and the enviable lifestyles they portray on their profiles. They were, as we see from the marketing deck for Fyre and the Fyre Festival \u003ca href=\"http://www.vanityfair.com/news/2017/05/fyre-festival-pitch-deck\" target=\"_blank\" rel=\"noopener\">obtained by \u003cem>Vanity Fair\u003c/em>\u003c/a>, the ostensible key to success for McFarland’s and Ja Rule’s disastrous music event.\u003c/p>\n\u003cp>The first 10 pages of the 43-page presentation focuses on the app, touting a roster of artists including Iggy Azalea, Queen Latifah, Lil Wayne, DJ Khaled and “hundreds of other notable artists, athletes and influencers.” It operates by allowing those looking to book artists on its roster to negotiate offers and payments and that talent to accept it, with Fyre taking a 10 percent commission from bookers.\u003c/p>\n\u003cp>The remaining 33 pages focus on the first edition of the Fyre Festival — yes, first. The deck explains Fyre Festival’s long-term vision: new event spaces, built from scratch — with the Trumpian phrase “through the purchase of significant land” — each year for the next five years, “referencing the five elements of the earth.” Its inaugural element? Water. (Irony alert: This despite there reportedly being precious little of it on hand for last week’s attendees).\u003c/p>\n\u003cp>“Come, seek, for searching is the foundation of fortune,” goes the \u003ca href=\"https://www.youtube.com/watch?v=j9BISHFOFXQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Zoolander\u003c/em>-esque\u003c/a> tagline. “What if we reimagined what it means to attend a music festival,” one slide wonders. The next: “The actual experience exceeds all expectations and is something that’s hard to put into words,” a statement that, if you replace the word ‘exceeds,’ is woefully accurate in retrospect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plan was to build awareness and attendance by recruiting — you guessed it — influencers, who would promote it on their social media accounts. Dubbed “the Fyre Tribe,” each was given free tickets and flights to the festival in exchange for taking part in a coordinated marketing effort that had each — over 30 are listed, with links, in the deck — post an “ambiguous” orange slide on their Instagram with the hashtag #FyreFestival. In the aftermath of last week’s debacle, most scrubbed their accounts of the promotion, though at least eighteen remained live as of this writing (see \u003ca href=\"https://www.instagram.com/p/BN8ErpVhh39/?hl=en\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BN8aY77Ah8h/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BN7uHEWDQsY/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for examples). Kendall Jenner, she of the lamentably \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\" target=\"_blank\" rel=\"noopener\">anti-woke Pepsi ad debacle\u003c/a>, was central to the Fyre Festival promotional campaign too, announcing the festival’s first headliner, G.O.O.D. Music.\u003c/p>\n\u003cp>That each post we reviewed seemed to run afoul of Federal Trade Commission rules around paid promotion may come to haunt the Fyre Tribe, however. Last month \u003ca href=\"https://www.ftc.gov/news-events/press-releases/2017/04/ftc-staff-reminds-influencers-brands-clearly-disclose\" target=\"_blank\" rel=\"noopener\">the FTC sent out\u003c/a> “more than 90 letters reminding influencers and marketers that influencers should clearly and conspicuously disclose their relationships to brands when promoting or endorsing products through social media.” The letters “were sent in response to a sample of Instagram posts making endorsements or referencing brands.” (It also issued \u003ca href=\"https://www.ftc.gov/system/files/attachments/press-releases/ftc-staff-reminds-influencers-brands-clearly-disclose-relationship/influencer_template.pdf\" target=\"_blank\" rel=\"noopener\">a template letter\u003c/a> that begins “Dear {\u003cem>Influencer\u003c/em>}.”)\u003c/p>\n\u003cp>As mentioned, a suit against the festival’s organizers was filed just two days after the situation on the ground became public. The FTC tells NPR that, so far, all cases brought over paid (but undisclosed) social media marketing campaigns have been against companies, not individuals, though a class action suit brought by individuals outside the FTC seems to remain a possibility.\u003c/p>\n\u003cp>The deck concludes with a quote from the ancient poet Rumi: “Seek those who light your flames.” After a search for the originating poem, it \u003ca href=\"https://www.google.com/search?q=seek+those+who+fan+your+flames&oq=seek+those+who+fan+you&aqs=chrome.0.0j69i57j0l4.2340j0j7&sourceid=chrome&ie=UTF-8\" target=\"_blank\" rel=\"noopener\">seems\u003c/a> that — in keeping with the general timbre of Fyre — Rumi’s quote actually reads: “Seek those who \u003cem>fan\u003c/em> your flames.” Mission accomplished.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated May 2, 4:15 p.m.: \u003c/strong>This article has been clarified to reflect new information provided by the Federal Trade Commission on the legality of compensated social media promotions.\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=How+Fyre%27s+Organizers+Used+%27Influencers%27+To+Market+A+Festival+That+Didn%27t+Exist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall, at the Web Summit tech conference in Lisbon, Portugal, the rapper Ja Rule \u003ca href=\"https://business.facebook.com/WebSummitHQ/posts/1215635168502525?business_id=10152715627857913\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> a small audience seated in front of the event’s music stage: “I’ll let my partner-in-crime here Billy McFarland give you all an introduction of what Fyre is.” At the time, Ja Rule and McFarland were promoting an app that would, we now know, share its name with one of the least-successful music events in recent memory, currently the subject of a \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener\">$100 million lawsuit\u003c/a>. The Fyre app, like McFarland’s other venture Magnesis (a rarefied “concierge” for the young, beautiful and hip), is directed at “young urban professionals” and “influencers” (brace yourself to see that word a \u003cem>lot\u003c/em>). The app allowed promoters, venues or just whomever to book artists for small, lucrative shows for small, well-heeled audiences — much like the concept that underpinned the event with which it now indelibly shares a name.\u003c/p>\n\u003cp>In the social media-driven present, these influencers are one-person marketing vehicles for all types of products, capitalizing on conventionally attractive faces and the enviable lifestyles they portray on their profiles. They were, as we see from the marketing deck for Fyre and the Fyre Festival \u003ca href=\"http://www.vanityfair.com/news/2017/05/fyre-festival-pitch-deck\" target=\"_blank\" rel=\"noopener\">obtained by \u003cem>Vanity Fair\u003c/em>\u003c/a>, the ostensible key to success for McFarland’s and Ja Rule’s disastrous music event.\u003c/p>\n\u003cp>The first 10 pages of the 43-page presentation focuses on the app, touting a roster of artists including Iggy Azalea, Queen Latifah, Lil Wayne, DJ Khaled and “hundreds of other notable artists, athletes and influencers.” It operates by allowing those looking to book artists on its roster to negotiate offers and payments and that talent to accept it, with Fyre taking a 10 percent commission from bookers.\u003c/p>\n\u003cp>The remaining 33 pages focus on the first edition of the Fyre Festival — yes, first. The deck explains Fyre Festival’s long-term vision: new event spaces, built from scratch — with the Trumpian phrase “through the purchase of significant land” — each year for the next five years, “referencing the five elements of the earth.” Its inaugural element? Water. (Irony alert: This despite there reportedly being precious little of it on hand for last week’s attendees).\u003c/p>\n\u003cp>“Come, seek, for searching is the foundation of fortune,” goes the \u003ca href=\"https://www.youtube.com/watch?v=j9BISHFOFXQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Zoolander\u003c/em>-esque\u003c/a> tagline. “What if we reimagined what it means to attend a music festival,” one slide wonders. The next: “The actual experience exceeds all expectations and is something that’s hard to put into words,” a statement that, if you replace the word ‘exceeds,’ is woefully accurate in retrospect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plan was to build awareness and attendance by recruiting — you guessed it — influencers, who would promote it on their social media accounts. Dubbed “the Fyre Tribe,” each was given free tickets and flights to the festival in exchange for taking part in a coordinated marketing effort that had each — over 30 are listed, with links, in the deck — post an “ambiguous” orange slide on their Instagram with the hashtag #FyreFestival. In the aftermath of last week’s debacle, most scrubbed their accounts of the promotion, though at least eighteen remained live as of this writing (see \u003ca href=\"https://www.instagram.com/p/BN8ErpVhh39/?hl=en\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BN8aY77Ah8h/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BN7uHEWDQsY/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for examples). Kendall Jenner, she of the lamentably \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\" target=\"_blank\" rel=\"noopener\">anti-woke Pepsi ad debacle\u003c/a>, was central to the Fyre Festival promotional campaign too, announcing the festival’s first headliner, G.O.O.D. Music.\u003c/p>\n\u003cp>That each post we reviewed seemed to run afoul of Federal Trade Commission rules around paid promotion may come to haunt the Fyre Tribe, however. Last month \u003ca href=\"https://www.ftc.gov/news-events/press-releases/2017/04/ftc-staff-reminds-influencers-brands-clearly-disclose\" target=\"_blank\" rel=\"noopener\">the FTC sent out\u003c/a> “more than 90 letters reminding influencers and marketers that influencers should clearly and conspicuously disclose their relationships to brands when promoting or endorsing products through social media.” The letters “were sent in response to a sample of Instagram posts making endorsements or referencing brands.” (It also issued \u003ca href=\"https://www.ftc.gov/system/files/attachments/press-releases/ftc-staff-reminds-influencers-brands-clearly-disclose-relationship/influencer_template.pdf\" target=\"_blank\" rel=\"noopener\">a template letter\u003c/a> that begins “Dear {\u003cem>Influencer\u003c/em>}.”)\u003c/p>\n\u003cp>As mentioned, a suit against the festival’s organizers was filed just two days after the situation on the ground became public. The FTC tells NPR that, so far, all cases brought over paid (but undisclosed) social media marketing campaigns have been against companies, not individuals, though a class action suit brought by individuals outside the FTC seems to remain a possibility.\u003c/p>\n\u003cp>The deck concludes with a quote from the ancient poet Rumi: “Seek those who light your flames.” After a search for the originating poem, it \u003ca href=\"https://www.google.com/search?q=seek+those+who+fan+your+flames&oq=seek+those+who+fan+you&aqs=chrome.0.0j69i57j0l4.2340j0j7&sourceid=chrome&ie=UTF-8\" target=\"_blank\" rel=\"noopener\">seems\u003c/a> that — in keeping with the general timbre of Fyre — Rumi’s quote actually reads: “Seek those who \u003cem>fan\u003c/em> your flames.” Mission accomplished.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated May 2, 4:15 p.m.: \u003c/strong>This article has been clarified to reflect new information provided by the Federal Trade Commission on the legality of compensated social media promotions.\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=How+Fyre%27s+Organizers+Used+%27Influencers%27+To+Market+A+Festival+That+Didn%27t+Exist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Colonel Bruce Hampton Dies During His Own Birthday Concert",
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"content": "\u003cp>Colonel Bruce Hampton, guitarist and respected elder statesman of the jam-band community, died Monday night after collapsing on stage during the encore of his own birthday celebration. He was 70 years old.\u003c/p>\n\u003cp>Hampton was close to wrapping up Hampton 70 — a birthday concert featuring members of Phish, Widespread Panic and Leftover Salmon, among others — when he collapsed on stage at the Fox Theater in Atlanta. Hampton’s death was confirmed in a statement from his family, \u003ca href=\"https://www.facebook.com/DerekAndSusan/photos/a.417417513492.199943.171417803492/10155291052483493/?type=3\" target=\"_blank\" rel=\"noopener\">shared\u003c/a> by the Tedeschi Trucks Band.\u003c/p>\n\u003cp>Former bandmate Jeff Mosier \u003ca href=\"https://www.facebook.com/Jeff.Mosier.Banjo/posts/10212769944625011?comment_id=10212770319194375&reply_comment_id=10212770374075747&comment_tracking=%7B%22tn%22%3A%22R9%22%7D\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Facebook that he could “could have never imagined a more joyful departure.”\u003c/p>\n\u003cp>Hampton, born Gustav Berglund III, began his music career in the late ’60s with the Hampton Grease Band, which toured with The Grateful Dead. In the early ’90s, while leading the Aquarium Rescue Unit, Hampton was widely credited with helping inspire and foster a new wave of improvisational “jam band” artists — including Widespread Panic, Blues Traveler, Dave Matthews and Phish.\u003c/p>\n\u003cp>Most recently, Hampton was leading a weekly residency at the Vista Room in Atlanta. “A Col. Bruce show brings a lot of joy and excitement,” Vista Room co-owner Mike Rizzi told \u003ca href=\"http://www.ajc.com/entertainment/music/how-unusual-atlanta-music-legend-stays-the-spotlight/2OfUhjjVSa2As1idBFJp5I/\" target=\"_blank\" rel=\"noopener\">the Atlanta \u003cem>Journal-Constitution\u003c/em>\u003c/a>, “especially in the world we live in right now. You forget about things when you walk through the door.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003cem>Basically Frightened: The Musical Madness of Colonel Bruce Hampton\u003c/em>, a 2012 documentary on Hampton, actor Billy Bob Thornton referred to Hampton as “the eighth wonder of the world.” \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=Colonel+Bruce+Hampton+Dies+After+Collapsing+On+Stage+During+His+Own+Birthday+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Colonel Bruce Hampton, guitarist and respected elder statesman of the jam-band community, died Monday night after collapsing on stage during the encore of his own birthday celebration. He was 70 years old.\u003c/p>\n\u003cp>Hampton was close to wrapping up Hampton 70 — a birthday concert featuring members of Phish, Widespread Panic and Leftover Salmon, among others — when he collapsed on stage at the Fox Theater in Atlanta. Hampton’s death was confirmed in a statement from his family, \u003ca href=\"https://www.facebook.com/DerekAndSusan/photos/a.417417513492.199943.171417803492/10155291052483493/?type=3\" target=\"_blank\" rel=\"noopener\">shared\u003c/a> by the Tedeschi Trucks Band.\u003c/p>\n\u003cp>Former bandmate Jeff Mosier \u003ca href=\"https://www.facebook.com/Jeff.Mosier.Banjo/posts/10212769944625011?comment_id=10212770319194375&reply_comment_id=10212770374075747&comment_tracking=%7B%22tn%22%3A%22R9%22%7D\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Facebook that he could “could have never imagined a more joyful departure.”\u003c/p>\n\u003cp>Hampton, born Gustav Berglund III, began his music career in the late ’60s with the Hampton Grease Band, which toured with The Grateful Dead. In the early ’90s, while leading the Aquarium Rescue Unit, Hampton was widely credited with helping inspire and foster a new wave of improvisational “jam band” artists — including Widespread Panic, Blues Traveler, Dave Matthews and Phish.\u003c/p>\n\u003cp>Most recently, Hampton was leading a weekly residency at the Vista Room in Atlanta. “A Col. Bruce show brings a lot of joy and excitement,” Vista Room co-owner Mike Rizzi told \u003ca href=\"http://www.ajc.com/entertainment/music/how-unusual-atlanta-music-legend-stays-the-spotlight/2OfUhjjVSa2As1idBFJp5I/\" target=\"_blank\" rel=\"noopener\">the Atlanta \u003cem>Journal-Constitution\u003c/em>\u003c/a>, “especially in the world we live in right now. You forget about things when you walk through the door.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003cem>Basically Frightened: The Musical Madness of Colonel Bruce Hampton\u003c/em>, a 2012 documentary on Hampton, actor Billy Bob Thornton referred to Hampton as “the eighth wonder of the world.” \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=Colonel+Bruce+Hampton+Dies+After+Collapsing+On+Stage+During+His+Own+Birthday+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Perhaps you’re a person who buys \u003ca href=\"https://www.pinterest.com/explore/festival-outfits/\" target=\"_blank\" rel=\"noopener\">festival wear\u003c/a> but finds Coachella too plebian. Perhaps you find other music festivals off-putting because you can’t bring your own yacht. Or maybe you just think it sounds awesome to hang out on an island in the Bahamas and you have a few thousand dollars to blow.\u003c/p>\n\u003cp>In that case the Fyre Festival was supposed to be the event – nay, \u003ca href=\"https://medium.com/@fyrefestival\">cultural moment\u003c/a>! – for you.\u003c/p>\n\u003cp>(And yes, that’s FYRE, not fire, because it was going to be LIT. And also because Fyre Media Inc. is the name of rapper Ja Rule’s talent-booking company, which organized the luxstravaganza, or #dumpsterfyre, as you’ll soon see.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=mz5kY3RsmKo\" target=\"_blank\" rel=\"noopener\">promo video\u003c/a> posted in January full of frolicking models, the Fyre Festival promised (in seemingly random order) “the best in food, art, music and adventure / once owned by Pablo Escobar / on the boundaries of the impossible / Fyre is an experience and festival / A quest / to push beyond those boundaries.”\u003c/p>\n\u003cp>Thursday was to be the first day of the two-weekend event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You’ll be flown roundtrip on a custom, VIP configured Boeing 737 aircraft between Miami International Airport and Exuma International Airport on Great Exuma,” said the festival’s \u003ca href=\"https://www.fyrefestival.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. “Guests will be staying in modern, eco-friendly, geodesic domes. … Unplug from the everyday and ignite your flame in the Exumas.”\u003c/p>\n\u003cp>The acts \u003ca href=\"https://consequenceofsound.net/2017/04/12000-luxury-fyre-festival-is-basically-a-disaster-zone/\" target=\"_blank\" rel=\"noopener\">scheduled to perform\u003c/a> included Major Lazer and Blink-182, as well as a DJ “who specializes in producing ’70s and ’80s rock remixes for clients that include Middle Eastern and European royalty,” as \u003cem>The Wall Street Journal\u003c/em> \u003ca href=\"https://www.wsj.com/articles/fyre-festival-organizers-push-to-keep-it-from-fizzling-1491130804\" target=\"_blank\" rel=\"noopener\">reported\u003c/a>.\u003c/p>\n\u003cp>The organizers built buzz by having celebrities \u003ca href=\"http://fashionista.com/2016/12/fyre-festival-models-2017\" target=\"_blank\" rel=\"noopener\">tweet and Instagram\u003c/a> about the festival. In a \u003ca href=\"https://twitter.com/Ruleyork/status/846497556339314689\" target=\"_blank\" rel=\"noopener\">now-deleted tweet\u003c/a> from March 27, Ja Rule wrote, “This is where the cool kids will be April 27-30 May 5-8!!! #fyrefestival #fyre.”\u003c/p>\n\u003cp>Ticket prices were steep – but of course they were, since it was going to be “the cultural event of the decade.” The \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-kendall-jenner-fyre-festival-20170105-story.html\" target=\"_blank\" rel=\"noopener\">reported in January\u003c/a> that passes, which included accommodations and chartered flights from Miami, started at $1,595 and stretched to $399,995, which included dinner with a performer. (Though prices varied widely according to accommodation, and attendees interviewed by NPR said tickets could be had for as little has $900.)\u003c/p>\n\u003cp>But there were signs of trouble in paradise.\u003c/p>\n\u003cp>According to \u003cem>Journal’\u003c/em>s article from April 2, the organizers missed a series of payments to performers, though it had begun making progress in paying them. The newspaper noted that festivals typically lose money in their early years, and face high upfront costs.\u003c/p>\n\u003cp>No matter. Just days before the festival was to begin, @fyrefestival was shaking the sand out of its hair and Instagramming without concern.\u003c/p>\n\u003cp>But there was to be no dancing on the beach.\u003c/p>\n\u003cp>Yesterday, ticketholders began arriving at the festival, and found the site in disarray. Instead of the promised (and paid for) villas and lodges, festivalgoers found instead row after row of the same white tents.\u003c/p>\n\u003cp>“You just get dropped off on this island, and you’re just standing there,” said Seth Crossno, who had flown to the Bahamas with three other friends from Raleigh. “It looked like a disaster relief area.” He said that cars and trucks were driving around, and that shipping containers littered the area.\u003c/p>\n\u003cp>Crossno said a man stood on a table shouting out directives.\u003c/p>\n\u003cp>“They had no way to communicate with anybody,” said Crossno. “I don’t know why no one went on the main stage and got on the microphone to get the crowd’s attention and tell people what was going on. Just total incompetence.” He added that house music blared in the background.\u003c/p>\n\u003cp>He estimated that a thousand people were there, and more kept arriving.\u003c/p>\n\u003cp>Crossno arrived at the festival around 5:30 p.m. Thursday night, and within a couple of hours, he and his friends were trying to get off the island. “It was a huge mess from the start,” he said. Together, Crossno said he and his friends paid about $12,000 to attend.\u003c/p>\n\u003cp>Janan Buisier, who traveled from Dallas, said she spent more than $1,300 to go to the event. At first, she and her friends wanted to make the best of a bad situation, she said, “but then we saw how it started getting dangerous.” She said the site didn’t have enough security, lights, or food.\u003c/p>\n\u003cp>“You were promised chargers for your phone — did not get that,” Busier said. “You were promised food — we were like starving. And you were promised safety, you were promised to be taken care of, you were promised an experience of a lifetime. And yes, it was quite the experience, but not in a positive way.”\u003c/p>\n\u003cp>The festival started arranging flights to get people back to Miami, including ones that Crossno and Buisier were able to get on.\u003c/p>\n\u003cfigure id=\"attachment_13124355\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29.jpg\" alt=\"The view from Fyre Festival.\" width=\"600\" height=\"450\" class=\"size-full wp-image-13124355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-520x390.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The view from Fyre Festival. \u003ccite>(Miles Braun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bahamas Ministry of Tourism \u003ca href=\"https://twitter.com/VisitTheBahamas/status/857949787513139200\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> out a statement Friday morning, saying it was “extremely disappointed in the way the events unfolded yesterday” and said that although it was not an official sponsor of the festival, it had lent its support when asked. “The event organizers assured is that all measures were taken to ensure a safe and successful event but clearly they did not have the capacity to execute an event of this scale.”\u003c/p>\n\u003cp>It added that it hopes festival visitors would consider returning to the Bahamas in the future “to truly experience all of our beauty.”\u003c/p>\n\u003cp>Not long after, the Fyre Festival website posted its own statement:\u003c/p>\n\u003cblockquote>\n\u003cp>Fyre Festival set out to provide a once-in-a-lifetime musical experience on the Islands of the Exumas.\u003c/p>\n\u003cp>Due to circumstances out of our control, the physical infrastructure was not in place on time and we are unable to fulfill on that vision safely and enjoyably for our guests. At this time, we are working tirelessly to get flights scheduled and get everyone off of Great Exuma and home safely as quickly as we can. We ask that guests currently on-island do not make their own arrangements to get to the airport as we are coordinating those plans. We are working to place everyone on complimentary charters back to Miami today; this process has commenced and the safety and comfort of our guests is our top priority.\u003c/p>\n\u003cp>The festival is being postponed until we can further assess if and when we are able to create the high- quality experience we envisioned.\u003c/p>\n\u003cp>We ask for everyone’s patience and cooperation during this difficult time as we work as quickly and safely as we can to remedy this unforeseeable situation. We will continue to provide regular updates via email to our guests and via our official social media channels as they become available.\u003c/p>\n\u003cp>-The Fyre Festival Team\u003c/p>\n\u003c/blockquote>\n\u003cp>Whether the circumstances were truly out of the Fyre Festival’s control will probably be a matter for the lawyers. Crossno, who on Friday morning was back in Miami after a very strange trip, said that if he doesn’t get his money back, he will sue.\u003c/p>\n\u003cp>But first, he has a warning for those who bought tickets for next weekend: “Do not go to this festival,” he said. “It’s a scam. It’s not real.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All Things Considered producer Greg Dixon contributed to this report.\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=Paradise+Lost%3A+Luxury+Music+Festival+Turns+Out+To+Be+Half-Built+Scene+Of+Chaos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Tickets cost thousands for what organizers were calling \"the cultural event of the decade.\" But when visitors arrived on Grand Exuma, they found a tent city without enough power, security, or food.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps you’re a person who buys \u003ca href=\"https://www.pinterest.com/explore/festival-outfits/\" target=\"_blank\" rel=\"noopener\">festival wear\u003c/a> but finds Coachella too plebian. Perhaps you find other music festivals off-putting because you can’t bring your own yacht. Or maybe you just think it sounds awesome to hang out on an island in the Bahamas and you have a few thousand dollars to blow.\u003c/p>\n\u003cp>In that case the Fyre Festival was supposed to be the event – nay, \u003ca href=\"https://medium.com/@fyrefestival\">cultural moment\u003c/a>! – for you.\u003c/p>\n\u003cp>(And yes, that’s FYRE, not fire, because it was going to be LIT. And also because Fyre Media Inc. is the name of rapper Ja Rule’s talent-booking company, which organized the luxstravaganza, or #dumpsterfyre, as you’ll soon see.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=mz5kY3RsmKo\" target=\"_blank\" rel=\"noopener\">promo video\u003c/a> posted in January full of frolicking models, the Fyre Festival promised (in seemingly random order) “the best in food, art, music and adventure / once owned by Pablo Escobar / on the boundaries of the impossible / Fyre is an experience and festival / A quest / to push beyond those boundaries.”\u003c/p>\n\u003cp>Thursday was to be the first day of the two-weekend event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You’ll be flown roundtrip on a custom, VIP configured Boeing 737 aircraft between Miami International Airport and Exuma International Airport on Great Exuma,” said the festival’s \u003ca href=\"https://www.fyrefestival.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. “Guests will be staying in modern, eco-friendly, geodesic domes. … Unplug from the everyday and ignite your flame in the Exumas.”\u003c/p>\n\u003cp>The acts \u003ca href=\"https://consequenceofsound.net/2017/04/12000-luxury-fyre-festival-is-basically-a-disaster-zone/\" target=\"_blank\" rel=\"noopener\">scheduled to perform\u003c/a> included Major Lazer and Blink-182, as well as a DJ “who specializes in producing ’70s and ’80s rock remixes for clients that include Middle Eastern and European royalty,” as \u003cem>The Wall Street Journal\u003c/em> \u003ca href=\"https://www.wsj.com/articles/fyre-festival-organizers-push-to-keep-it-from-fizzling-1491130804\" target=\"_blank\" rel=\"noopener\">reported\u003c/a>.\u003c/p>\n\u003cp>The organizers built buzz by having celebrities \u003ca href=\"http://fashionista.com/2016/12/fyre-festival-models-2017\" target=\"_blank\" rel=\"noopener\">tweet and Instagram\u003c/a> about the festival. In a \u003ca href=\"https://twitter.com/Ruleyork/status/846497556339314689\" target=\"_blank\" rel=\"noopener\">now-deleted tweet\u003c/a> from March 27, Ja Rule wrote, “This is where the cool kids will be April 27-30 May 5-8!!! #fyrefestival #fyre.”\u003c/p>\n\u003cp>Ticket prices were steep – but of course they were, since it was going to be “the cultural event of the decade.” The \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-kendall-jenner-fyre-festival-20170105-story.html\" target=\"_blank\" rel=\"noopener\">reported in January\u003c/a> that passes, which included accommodations and chartered flights from Miami, started at $1,595 and stretched to $399,995, which included dinner with a performer. (Though prices varied widely according to accommodation, and attendees interviewed by NPR said tickets could be had for as little has $900.)\u003c/p>\n\u003cp>But there were signs of trouble in paradise.\u003c/p>\n\u003cp>According to \u003cem>Journal’\u003c/em>s article from April 2, the organizers missed a series of payments to performers, though it had begun making progress in paying them. The newspaper noted that festivals typically lose money in their early years, and face high upfront costs.\u003c/p>\n\u003cp>No matter. Just days before the festival was to begin, @fyrefestival was shaking the sand out of its hair and Instagramming without concern.\u003c/p>\n\u003cp>But there was to be no dancing on the beach.\u003c/p>\n\u003cp>Yesterday, ticketholders began arriving at the festival, and found the site in disarray. Instead of the promised (and paid for) villas and lodges, festivalgoers found instead row after row of the same white tents.\u003c/p>\n\u003cp>“You just get dropped off on this island, and you’re just standing there,” said Seth Crossno, who had flown to the Bahamas with three other friends from Raleigh. “It looked like a disaster relief area.” He said that cars and trucks were driving around, and that shipping containers littered the area.\u003c/p>\n\u003cp>Crossno said a man stood on a table shouting out directives.\u003c/p>\n\u003cp>“They had no way to communicate with anybody,” said Crossno. “I don’t know why no one went on the main stage and got on the microphone to get the crowd’s attention and tell people what was going on. Just total incompetence.” He added that house music blared in the background.\u003c/p>\n\u003cp>He estimated that a thousand people were there, and more kept arriving.\u003c/p>\n\u003cp>Crossno arrived at the festival around 5:30 p.m. Thursday night, and within a couple of hours, he and his friends were trying to get off the island. “It was a huge mess from the start,” he said. Together, Crossno said he and his friends paid about $12,000 to attend.\u003c/p>\n\u003cp>Janan Buisier, who traveled from Dallas, said she spent more than $1,300 to go to the event. At first, she and her friends wanted to make the best of a bad situation, she said, “but then we saw how it started getting dangerous.” She said the site didn’t have enough security, lights, or food.\u003c/p>\n\u003cp>“You were promised chargers for your phone — did not get that,” Busier said. “You were promised food — we were like starving. And you were promised safety, you were promised to be taken care of, you were promised an experience of a lifetime. And yes, it was quite the experience, but not in a positive way.”\u003c/p>\n\u003cp>The festival started arranging flights to get people back to Miami, including ones that Crossno and Buisier were able to get on.\u003c/p>\n\u003cfigure id=\"attachment_13124355\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29.jpg\" alt=\"The view from Fyre Festival.\" width=\"600\" height=\"450\" class=\"size-full wp-image-13124355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/img_0052-349cae6d58ab7184db91914262a15fb14494cb29-520x390.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The view from Fyre Festival. \u003ccite>(Miles Braun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bahamas Ministry of Tourism \u003ca href=\"https://twitter.com/VisitTheBahamas/status/857949787513139200\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> out a statement Friday morning, saying it was “extremely disappointed in the way the events unfolded yesterday” and said that although it was not an official sponsor of the festival, it had lent its support when asked. “The event organizers assured is that all measures were taken to ensure a safe and successful event but clearly they did not have the capacity to execute an event of this scale.”\u003c/p>\n\u003cp>It added that it hopes festival visitors would consider returning to the Bahamas in the future “to truly experience all of our beauty.”\u003c/p>\n\u003cp>Not long after, the Fyre Festival website posted its own statement:\u003c/p>\n\u003cblockquote>\n\u003cp>Fyre Festival set out to provide a once-in-a-lifetime musical experience on the Islands of the Exumas.\u003c/p>\n\u003cp>Due to circumstances out of our control, the physical infrastructure was not in place on time and we are unable to fulfill on that vision safely and enjoyably for our guests. At this time, we are working tirelessly to get flights scheduled and get everyone off of Great Exuma and home safely as quickly as we can. We ask that guests currently on-island do not make their own arrangements to get to the airport as we are coordinating those plans. We are working to place everyone on complimentary charters back to Miami today; this process has commenced and the safety and comfort of our guests is our top priority.\u003c/p>\n\u003cp>The festival is being postponed until we can further assess if and when we are able to create the high- quality experience we envisioned.\u003c/p>\n\u003cp>We ask for everyone’s patience and cooperation during this difficult time as we work as quickly and safely as we can to remedy this unforeseeable situation. We will continue to provide regular updates via email to our guests and via our official social media channels as they become available.\u003c/p>\n\u003cp>-The Fyre Festival Team\u003c/p>\n\u003c/blockquote>\n\u003cp>Whether the circumstances were truly out of the Fyre Festival’s control will probably be a matter for the lawyers. Crossno, who on Friday morning was back in Miami after a very strange trip, said that if he doesn’t get his money back, he will sue.\u003c/p>\n\u003cp>But first, he has a warning for those who bought tickets for next weekend: “Do not go to this festival,” he said. “It’s a scam. It’s not real.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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