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"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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"title": "Is Pharrell, the First Man to Model a Chanel Bag, Pushing Any Boundaries?",
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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",
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"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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"title": "Paradise Lost: Luxury Music Festival Turns Out to Be Half-Built Scene of Chaos",
"headTitle": "Paradise Lost: Luxury Music Festival Turns Out to Be Half-Built Scene of Chaos | KQED",
"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine city planning as a contact sport and you have the gist of Matt Tyrnauer’s documentary, \u003cem>Citizen Jane: Battle for the City\u003c/em>. The film chronicles the struggle between two mid-20th century worldviews: that of Robert Moses, who preached a cure for what ailed American cities that amounted to “bulldoze and replace,” and the less destructive prescriptions of writer/activist Jane Jacobs, who challenged the whole notion of urban renewal in her game-changing book, \u003cem>The Death and Life of Great American Cities\u003c/em>.\u003c/p>\n\u003cp>She was the David to his Goliath. As New York’s unelected but powerful parks commissioner, transit czar and head of public works, Moses was intent on creating the city of tomorrow — a place of glistening, angular high-rises, soaring bridges, and superhighways. And in the 1950s and ’60s, he had the muscle to make them happen. As he talks of cutting out the “cancer” of slums, the images on-screen are of whole blocks being demolished by wrecking ball and explosives.\u003c/p>\n\u003cp>But it’s a feature of such top-down approaches to city planning that when you take a view from the clouds, the city’s inhabitants become mere specks on your architectural models.\u003c/p>\n\u003cp>https://youtu.be/hKjkjntspfA\u003c/p>\n\u003cp>“Today our greatest single problem is tenant removal,” Moses intones matter-of-factly. “You have to move people out of the way of a slum clearance project, and a lot of them are not gonna like it.” Grant the man a gift for understatement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While he designed crisp city blocks from on high, Jane Jacobs was looking at New York from street level. To her a city wasn’t about buildings — it was about people. Planners like Moses may have seen newsstands and folks sitting on front stoops as clutter, but Jacobs saw a vibrant streetscape.\u003c/p>\n\u003cp>They were natural antagonists, these two. And with archival footage and talking heads, the filmmakers lay out the differences in their outlooks, and then revisit their biggest battles. Over, say, the Moses plan to declare much of Greenwich Village a slum, so he could run traffic — think of his neighborhood-killing Cross Bronx Expressway — through the center of Washington Square.\u003c/p>\n\u003cp>Jacobs had just published her book \u003cem>Death and Life\u003c/em> at that point, and she lived in Greenwich Village. Moses, foolishly, termed her just a mother with a baby carriage. He would soon learn not to underestimate mothers.\u003c/p>\n\u003cp>“There is nothing more inert than a planning office,” Jacobs says in a voiceover. “It gets going in one direction and it is never going to change of its own accord.” So she made it her business to “frustrate planners.”\u003c/p>\n\u003cp>The film documents how she mobilized the neighborhood, and then the politicians, and proved that the people of Greenwich Village could fight city hall.\u003c/p>\n\u003cp>But the Moses doctrine of bulldoze-and-replace was making a lot of money for developers, and it was spreading. Cities everywhere followed his lead, ripping out run-down neighborhoods to construct soulless, low-income high-rises that no one wanted.\u003c/p>\n\u003cp>The film shows the result — Pruitt-Igoe in St. Louis, Cabrini-Green in Chicago — huge, sterile towers surrounded by ribbons of concrete and what sketches depicted as parkland but what were, in reality, the equivalent of empty lots. Jacobs predicted correctly that these walled-in green spaces would prove more dangerous than the busy streets they replaced because no one would ever be in them.\u003c/p>\n\u003cp>“This is not the re-building of cities” she wrote. “This is the sacking of cities.”\u003c/p>\n\u003cp>It would be hard to watch \u003cem>Citizen Jane: Battle for the City\u003c/em> without making connections to battles raging today: politicians who want to build things — walls, infrastructure — to clean up clutter and make people conform.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jacobs argued that what looks to officialdom like disorder is actually what makes a crowded human landscape function — it’s just a more complex order. This compelling documentary lets you see the beauty she found in that complexity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While he designed crisp city blocks from on high, Jane Jacobs was looking at New York from street level. To her a city wasn’t about buildings — it was about people. Planners like Moses may have seen newsstands and folks sitting on front stoops as clutter, but Jacobs saw a vibrant streetscape.\u003c/p>\n\u003cp>They were natural antagonists, these two. And with archival footage and talking heads, the filmmakers lay out the differences in their outlooks, and then revisit their biggest battles. Over, say, the Moses plan to declare much of Greenwich Village a slum, so he could run traffic — think of his neighborhood-killing Cross Bronx Expressway — through the center of Washington Square.\u003c/p>\n\u003cp>Jacobs had just published her book \u003cem>Death and Life\u003c/em> at that point, and she lived in Greenwich Village. Moses, foolishly, termed her just a mother with a baby carriage. He would soon learn not to underestimate mothers.\u003c/p>\n\u003cp>“There is nothing more inert than a planning office,” Jacobs says in a voiceover. “It gets going in one direction and it is never going to change of its own accord.” So she made it her business to “frustrate planners.”\u003c/p>\n\u003cp>The film documents how she mobilized the neighborhood, and then the politicians, and proved that the people of Greenwich Village could fight city hall.\u003c/p>\n\u003cp>But the Moses doctrine of bulldoze-and-replace was making a lot of money for developers, and it was spreading. Cities everywhere followed his lead, ripping out run-down neighborhoods to construct soulless, low-income high-rises that no one wanted.\u003c/p>\n\u003cp>The film shows the result — Pruitt-Igoe in St. Louis, Cabrini-Green in Chicago — huge, sterile towers surrounded by ribbons of concrete and what sketches depicted as parkland but what were, in reality, the equivalent of empty lots. Jacobs predicted correctly that these walled-in green spaces would prove more dangerous than the busy streets they replaced because no one would ever be in them.\u003c/p>\n\u003cp>“This is not the re-building of cities” she wrote. “This is the sacking of cities.”\u003c/p>\n\u003cp>It would be hard to watch \u003cem>Citizen Jane: Battle for the City\u003c/em> without making connections to battles raging today: politicians who want to build things — walls, infrastructure — to clean up clutter and make people conform.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jacobs argued that what looks to officialdom like disorder is actually what makes a crowded human landscape function — it’s just a more complex order. This compelling documentary lets you see the beauty she found in that complexity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \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=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \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=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jonathan Demme, Director of 'Silence of The Lambs,' Dies at 73",
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"content": "\u003cp>For more than four decades, Jonathan Demme threaded a diverse path through the film industry — beginning as a publicist, filming everything from documentaries to comedic sendups, and finally earning the status of Oscar-winning elder statesman. He was 73.\u003c/p>\n\u003cp>The director died Wednesday in Manhattan from complications of esophageal cancer, his publicist, 42 West, confirmed the death to NPR.\u003c/p>\n\u003cp>Demme made films such as \u003cem>The Silence of the Lambs\u003c/em> and \u003cem>Stop Making Sense \u003c/em>that have helped define their respective genres.\u003c/p>\n\u003cp>Yet despite these accomplishments — which also include the film Philadelphia — Demme never set out to become a director. Far from it, in fact: He wanted to be a veterinarian. But, \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=16324665\" target=\"_blank\" rel=\"noopener\">as he told NPR in 2007\u003c/a>, that goal ran into trouble when he flunked out of college chemistry pretty much immediately.\u003c/p>\n\u003cp>After a semester of writing movie review for his campus newspaper, he left college for a publicity job with B-movie master Roger Corman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I met Roger Corman, who said, ‘Well, you can write press releases? I’m starting a new company. I need movies. Can you write a screenplay?’ ” Demme recalled.\u003c/p>\n\u003cp>“I was about 25 years old at the time and I said, I would love to try that. I had had no aspirations to be a filmmaker or a writer. Until then, I was thrilled to be working in the movie business as a publicist. I would have been perfectly happy to do that forever.”\u003c/p>\n\u003cp>But Corman loved his screenplays and eventually recommended that Demme get behind the camera, too. As a director getting his start in the early 1970s, Demme infused his first films Corman’s over-the-top sensibilities, but as he set out on his own later in the decade, he began to find a more distinctive eye — hewing closer to intimate character study.\u003c/p>\n\u003cp>In the 1980s Demme dabbled in a variety of forms, making a mark in documentary filmmaking — particularly with \u003cem>Stop Making Sense\u003c/em>, a seminal 1984 concert film for the Talking Heads — and in comedy with films like \u003cem>Something Wild \u003c/em>and the gangster spoof \u003cem>Married to the Mob\u003c/em>.\u003c/p>\n\u003cp>“I’ve always followed my enthusiasm,” Demme said of the variety in his career. “Whether the pictures have turned out good or not is one thing — but I’ve always had a lot of enthusiasm for the project at hand.”\u003c/p>\n\u003cp>It was a pair of prestige dramas that brought Demme his greatest recognition — starting with \u003cem>The Silence of the Lambs\u003c/em>, a horror film that \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1992\" target=\"_blank\" rel=\"noopener\">swept the 1992 Academy Awards \u003c/a>and earned Demme the Oscars for best director and best picture.\u003c/p>\n\u003cp>The movie was also a hit at the box office, which, as Demme \u003ca href=\"http://www.rollingstone.com/movies/features/the-rolling-stone-interview-jonathan-demme-19940324\" target=\"_blank\" rel=\"noopener\">told Rolling Stone in 1994\u003c/a>, came as a significant relief.\u003c/p>\n\u003cp>“At certain points, I was afraid there was something — a missing chink of skill — that was going to prevent me from having a movie that was financially successful. That frightened me,” Demme said at the time. “So when \u003cem>Silence of the Lambs\u003c/em> became an unqualified success, I took a huge sigh of relief. I mean, I can’t tell you how wonderful that felt.”\u003c/p>\n\u003cp>He followed up that film’s success with \u003cem>Philadelphia\u003c/em>, which starred Tom Hanks as a gay lawyer suffering from AIDS and fighting for his legal rights. The drama also earned a raft of Academy Award nominations, including a best actor win for Hanks.\u003c/p>\n\u003cp>Still, as Demme told NPR in 2007, there was one form that continued to draw him back to the camera: documentaries. He said it was the form’s endless capacity to surprise that best characterized what he loved about film in general.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The excitement of waiting into quote-unquote ‘reality’ and just finding out what happens — and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging — is a great, great thrill.” \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=Jonathan+Demme%2C+Director+Of+%27Silence+Of+The+Lambs%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than four decades, Jonathan Demme threaded a diverse path through the film industry — beginning as a publicist, filming everything from documentaries to comedic sendups, and finally earning the status of Oscar-winning elder statesman. He was 73.\u003c/p>\n\u003cp>The director died Wednesday in Manhattan from complications of esophageal cancer, his publicist, 42 West, confirmed the death to NPR.\u003c/p>\n\u003cp>Demme made films such as \u003cem>The Silence of the Lambs\u003c/em> and \u003cem>Stop Making Sense \u003c/em>that have helped define their respective genres.\u003c/p>\n\u003cp>Yet despite these accomplishments — which also include the film Philadelphia — Demme never set out to become a director. Far from it, in fact: He wanted to be a veterinarian. But, \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=16324665\" target=\"_blank\" rel=\"noopener\">as he told NPR in 2007\u003c/a>, that goal ran into trouble when he flunked out of college chemistry pretty much immediately.\u003c/p>\n\u003cp>After a semester of writing movie review for his campus newspaper, he left college for a publicity job with B-movie master Roger Corman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I met Roger Corman, who said, ‘Well, you can write press releases? I’m starting a new company. I need movies. Can you write a screenplay?’ ” Demme recalled.\u003c/p>\n\u003cp>“I was about 25 years old at the time and I said, I would love to try that. I had had no aspirations to be a filmmaker or a writer. Until then, I was thrilled to be working in the movie business as a publicist. I would have been perfectly happy to do that forever.”\u003c/p>\n\u003cp>But Corman loved his screenplays and eventually recommended that Demme get behind the camera, too. As a director getting his start in the early 1970s, Demme infused his first films Corman’s over-the-top sensibilities, but as he set out on his own later in the decade, he began to find a more distinctive eye — hewing closer to intimate character study.\u003c/p>\n\u003cp>In the 1980s Demme dabbled in a variety of forms, making a mark in documentary filmmaking — particularly with \u003cem>Stop Making Sense\u003c/em>, a seminal 1984 concert film for the Talking Heads — and in comedy with films like \u003cem>Something Wild \u003c/em>and the gangster spoof \u003cem>Married to the Mob\u003c/em>.\u003c/p>\n\u003cp>“I’ve always followed my enthusiasm,” Demme said of the variety in his career. “Whether the pictures have turned out good or not is one thing — but I’ve always had a lot of enthusiasm for the project at hand.”\u003c/p>\n\u003cp>It was a pair of prestige dramas that brought Demme his greatest recognition — starting with \u003cem>The Silence of the Lambs\u003c/em>, a horror film that \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1992\" target=\"_blank\" rel=\"noopener\">swept the 1992 Academy Awards \u003c/a>and earned Demme the Oscars for best director and best picture.\u003c/p>\n\u003cp>The movie was also a hit at the box office, which, as Demme \u003ca href=\"http://www.rollingstone.com/movies/features/the-rolling-stone-interview-jonathan-demme-19940324\" target=\"_blank\" rel=\"noopener\">told Rolling Stone in 1994\u003c/a>, came as a significant relief.\u003c/p>\n\u003cp>“At certain points, I was afraid there was something — a missing chink of skill — that was going to prevent me from having a movie that was financially successful. That frightened me,” Demme said at the time. “So when \u003cem>Silence of the Lambs\u003c/em> became an unqualified success, I took a huge sigh of relief. I mean, I can’t tell you how wonderful that felt.”\u003c/p>\n\u003cp>He followed up that film’s success with \u003cem>Philadelphia\u003c/em>, which starred Tom Hanks as a gay lawyer suffering from AIDS and fighting for his legal rights. The drama also earned a raft of Academy Award nominations, including a best actor win for Hanks.\u003c/p>\n\u003cp>Still, as Demme told NPR in 2007, there was one form that continued to draw him back to the camera: documentaries. He said it was the form’s endless capacity to surprise that best characterized what he loved about film in general.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The excitement of waiting into quote-unquote ‘reality’ and just finding out what happens — and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging — is a great, great thrill.” \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=Jonathan+Demme%2C+Director+Of+%27Silence+Of+The+Lambs%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Siegel Stepping Down as 'All Things Considered' Host in 2018",
"headTitle": "Robert Siegel Stepping Down as ‘All Things Considered’ Host in 2018 | KQED",
"content": "\u003cp>Robert Siegel, whose career with NPR has spanned more than four decades, will be stepping down as co-host of NPR’s \u003cem>All Things Considered\u003c/em> next year.\u003c/p>\n\u003cp>One of the most distinctive voices on NPR’s airwaves, Siegel will be leaving the host’s chair in January 2018. He has hosted the show for 30 years.\u003c/p>\n\u003cp>“This is a decision long in the making and not an easy one,” Siegel said. “I’ve had the greatest job I can think of, working with the finest colleagues anyone could ask for, for as long a stretch as I could imagine. But, looking ahead to my 70s (which start all too soon) I feel that it is time for me to begin a new phase of life. Over the next few months, I hope to figure out what that will be.”\u003c/p>\n\u003cp>Siegel started at NPR as a newscaster in 1976. He was a senior editor in NPR’s London bureau and the director of the news and information department before he became host of \u003cem>All Things Considered \u003c/em>in 1987.\u003c/p>\n\u003cp>Siegel “reported from every corner of the country and around the world,” NPR executives \u003ca href=\"http://www.npr.org/sections/npr-extra/2017/04/25/525535979/robert-siegel-and-all-things-considered\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He even reported from Springfield — \u003ca href=\"https://www.youtube.com/watch?v=Q1t8foMAjdc&feature=youtu.be\">on The Simpsons\u003c/a>.\u003c/p>\n\u003cp>“He is the consummate student, a person whose quest for the answers has benefited millions upon millions of listeners over the years,” NPR’s statement says. “He is for all of us, a model of how to be fully engaged in the world, our work, and with his colleagues.”\u003c/p>\n\u003cp>NPR will be conducting a national search for the next host of \u003cem>All Things Considered.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Siegel, the show is co-hosted by Ari Shapiro, Audie Cornish and Kelly McEvers. \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=Robert+Siegel+Stepping+Down+As+%27All+Things+Considered%27+Host+In+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Siegel, whose career with NPR has spanned more than four decades, will be stepping down as co-host of NPR’s \u003cem>All Things Considered\u003c/em> next year.\u003c/p>\n\u003cp>One of the most distinctive voices on NPR’s airwaves, Siegel will be leaving the host’s chair in January 2018. He has hosted the show for 30 years.\u003c/p>\n\u003cp>“This is a decision long in the making and not an easy one,” Siegel said. “I’ve had the greatest job I can think of, working with the finest colleagues anyone could ask for, for as long a stretch as I could imagine. But, looking ahead to my 70s (which start all too soon) I feel that it is time for me to begin a new phase of life. Over the next few months, I hope to figure out what that will be.”\u003c/p>\n\u003cp>Siegel started at NPR as a newscaster in 1976. He was a senior editor in NPR’s London bureau and the director of the news and information department before he became host of \u003cem>All Things Considered \u003c/em>in 1987.\u003c/p>\n\u003cp>Siegel “reported from every corner of the country and around the world,” NPR executives \u003ca href=\"http://www.npr.org/sections/npr-extra/2017/04/25/525535979/robert-siegel-and-all-things-considered\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>What will Bill Murray do next?\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>The beloved actor’s curiosity seems boundless. It should be no surprise, then, to learn that his new project finds him paired with a classical cellist.\u003c/p>\n\u003cp>Jan Vogler and Murray met a few years back on an overseas flight, where the seeds of an idea were planted. The result is \u003cem>New Worlds\u003c/em>, their new show which makes its U.S. debut at \u003ca href=\"https://festivalnapavalley.org/\" target=\"_blank\" rel=\"noopener\">Festival Napa Valley\u003c/a> on July 20, and will be released as an album in August. The performance features Murray singing a little Gershwin and reciting a little Whitman. Vogler, along with violinist \u003ca href=\"http://www.npr.org/2017/03/14/519984134/a-stolen-then-recovered-stradivarius-returns-to-the-stage\" target=\"_blank\" rel=\"noopener\">Mira Wang\u003c/a> and pianist \u003ca href=\"http://www.vanessaperez.com/\" target=\"_blank\" rel=\"noopener\">Vanessa Perez\u003c/a>, provide a soundtrack of \u003ca href=\"http://www.npr.org/artists/15044271/franz-schubert\" target=\"_blank\" rel=\"noopener\">Schubert\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15031897/johann-sebastian-bach\" target=\"_blank\" rel=\"noopener\">Bach\u003c/a> and \u003ca href=\"http://www.npr.org/artists/17926052/astor-piazzolla\" target=\"_blank\" rel=\"noopener\">Piazzolla\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8jXWDyyFesE\u003c/p>\n\u003cp>Murray isn’t new to either singing or poetry. As Nick the Lounge Singer, he crooned the \u003ca href=\"https://vimeo.com/148990643\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Wars\u003c/em> theme\u003c/a> on \u003cem>Saturday Night Live. \u003c/em>In the film \u003cem>Lost in Translation, \u003c/em>he sang a wobbly yet wistful version of \u003ca href=\"http://www.npr.org/artists/95667902/roxy-music\" target=\"_blank\" rel=\"noopener\">Roxy Music\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=blZPOwm6ES4\" target=\"_blank\" rel=\"noopener\">More Than This\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Poetry also figures into his career already. In \u003cem>Groundhog Day,\u003c/em> Murray \u003ca href=\"https://www.youtube.com/watch?v=zVeJ5F26uiM\" target=\"_blank\" rel=\"noopener\">recited a poem\u003c/a> in French to Andie MacDowell. But more serious endeavors include his longtime support of the Poet’s House, a poetry library in lower Manhattan where he once gave an \u003ca href=\"https://www.youtube.com/watch?v=rj_LYsvGF0E\" target=\"_blank\" rel=\"noopener\">impromptu reading\u003c/a> of Emily Dickinson and others, to a group of giggling construction workers.\u003c/p>\n\u003cp>Vogler, who routinely plays with top orchestras around the world, wrote earlier today in an email to NPR that working with Murray is an experience full of the unexpected.\u003c/p>\n\u003cp>“Last June,” Vogler wrote, “he sent me a text message one day: ‘Meet me at the Manhattan side of the Brooklyn Bridge.’ I went there and had no idea what to expect.”\u003c/p>\n\u003cp>Turns out it was the annual Poetry Walk, sponsored by the Poets House. “We all walked across the Brooklyn Bridge, listening to Walt Whitman poems on both sides of the river,” Vogler says. “It was a magic day, and the surprise effect contributed to the beauty of it.”\u003c/p>\n\u003cp>It was also remarkable to Vogler, a German musician steeped in the central European classics, how easy it was to choose the repertoire for \u003cem>New Worlds\u003c/em> with Murray.\u003c/p>\n\u003cp>“We met up and we listened to a lot of music,” Vogler recalls. “He is so musical and would whistle a tune as soon as I would mention it. We found our common favorites and started talking about literature. It was surprising how much we agreed on the choices of both literature and music.”\u003c/p>\n\u003cp>\u003cem>New Worlds\u003c/em> will tour in Europe and North America this summer and fall, with a final stop at Carnegie Hall Oct. 16.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s next for Murray after this chamber music and poetry hootenanny is, most likely, anyone’s guess. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Murray+Goes+Classical%3F+Hey%2C+Why+Not%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Poetry also figures into his career already. In \u003cem>Groundhog Day,\u003c/em> Murray \u003ca href=\"https://www.youtube.com/watch?v=zVeJ5F26uiM\" target=\"_blank\" rel=\"noopener\">recited a poem\u003c/a> in French to Andie MacDowell. But more serious endeavors include his longtime support of the Poet’s House, a poetry library in lower Manhattan where he once gave an \u003ca href=\"https://www.youtube.com/watch?v=rj_LYsvGF0E\" target=\"_blank\" rel=\"noopener\">impromptu reading\u003c/a> of Emily Dickinson and others, to a group of giggling construction workers.\u003c/p>\n\u003cp>Vogler, who routinely plays with top orchestras around the world, wrote earlier today in an email to NPR that working with Murray is an experience full of the unexpected.\u003c/p>\n\u003cp>“Last June,” Vogler wrote, “he sent me a text message one day: ‘Meet me at the Manhattan side of the Brooklyn Bridge.’ I went there and had no idea what to expect.”\u003c/p>\n\u003cp>Turns out it was the annual Poetry Walk, sponsored by the Poets House. “We all walked across the Brooklyn Bridge, listening to Walt Whitman poems on both sides of the river,” Vogler says. “It was a magic day, and the surprise effect contributed to the beauty of it.”\u003c/p>\n\u003cp>It was also remarkable to Vogler, a German musician steeped in the central European classics, how easy it was to choose the repertoire for \u003cem>New Worlds\u003c/em> with Murray.\u003c/p>\n\u003cp>“We met up and we listened to a lot of music,” Vogler recalls. “He is so musical and would whistle a tune as soon as I would mention it. We found our common favorites and started talking about literature. It was surprising how much we agreed on the choices of both literature and music.”\u003c/p>\n\u003cp>\u003cem>New Worlds\u003c/em> will tour in Europe and North America this summer and fall, with a final stop at Carnegie Hall Oct. 16.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s next for Murray after this chamber music and poetry hootenanny is, most likely, anyone’s guess. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Murray+Goes+Classical%3F+Hey%2C+Why+Not%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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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",
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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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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"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.",
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"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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"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",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"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": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"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/",
"meta": {
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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