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"content": "\u003cp>Well, excuse me while I throw away my first draft, won’t you?\u003c/p>\n\u003cp>For quite a while, Sunday night’s Oscars seemed fairly tame. \u003cem>La La Land\u003c/em>, the retro musical with Emma Stone and Ryan Gosling, came into the Oscars as a favorite, having tied the nomination record with a total of 14. It took a while for it to get going, as the early awards were spread out across a variety of nominees. But indeed, by the time they prepared to announce best picture, \u003cem>La La Land \u003c/em>had gone on a late run and nabbed six awards: for production design, cinematography, best original score, best original song (“City Of Stars”), best actress (Stone) and best director. Its path to best picture seemed clear.\u003c/p>\n\u003cp>Faye Dunaway and Warren Beatty took the stage to announce best picture and Beatty looked at the card and paused. And then he paused more. He handed it to Dunaway, and she read the card: “\u003cem>La La Land\u003c/em>.” The producers and cast of the heavily favored film took the stage, and several of them spoke. But then, with the throng still onstage, producer Jordan Horowitz — who had already given his heartfelt thanks — returned to the microphone and announced that there had been a mistake. In fact, best picture had not been won by \u003cem>La La Land\u003c/em>, but by \u003cem>Moonlight\u003c/em>, a beautiful, moving and very inexpensive independent coming-of-age drama. Beatty, still onstage and trying to explain while surrounded by shocked producers and actors, blamed it on confusion with the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>. But either way, the \u003cem>Moonlight \u003c/em>producers stepped up and took an award that many in the room and many watching at home were already irate that they hadn’t won.\u003c/p>\n\u003cp>It hadn’t been all that unexpected an evening until then. The Oscar telecast hadn’t begun with a cornball movie-themed musical number, but with Justin Timberlake performing “Can’t Stop The Feeling,” his nominated song from the animated movie \u003cem>Trolls\u003c/em>. After guiding an auditorium full of celebrities through some very awkward dancing, Timberlake yielded the stage to first-time host Jimmy Kimmel.\u003c/p>\n\u003cp>Kimmel’s monologue was about average for such things, laced with politics as you might expect (Kimmel thanked President Trump and said, “Remember when it seemed like the \u003cem>Oscars \u003c/em>were racist?”) but also heavy on the kinds of jokes that would be B-minus jokes on an average late-night monologue (for instance, his quip that if Amazon won an Oscar for \u003cem>Manchester By The Sea\u003c/em>, it would be delivered “in two to five business days”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once the awards got underway, though, they started to go in interesting directions in a hurry. Mahershala Ali won best supporting actor for his performance in \u003cem>Moonlight\u003c/em> — a win that few would have imagined last year at this time. Ali gave a very emotional speech and offered a shout-out to his wife, who had a baby four days ago. Ali was also the night’s first first, as it were — specifically, the first Muslim actor, as far as anyone seems to know, to win an Oscar.\u003c/p>\n\u003cp>There were other milestones: Katherine Johnson, the NASA mathematician Taraji P. Henson played in \u003cem>Hidden Figures\u003c/em>, joined the actresses from the film onstage to present the award for best documentary feature to Ezra Edelman for \u003cem>O.J. Made In America\u003c/em>, the ESPN TV miniseries (which also played in theaters and at film festivals with an eye on Oscar qualifications). In winning, it became the longest “film” to ever win an Academy Award, given that it was produced as a 467-minute, multipart (and totally brilliant) TV miniseries.\u003c/p>\n\u003cp>Viola Davis won best supporting actress for \u003cem>Fences. \u003c/em>With an Emmy, an Oscar and a Tony, she’s only a Grammy away from precious EGOT status. (Narrate that audiobook, Viola Davis!) She saluted the writer of \u003cem>Fences\u003c/em>, both play and screenplay, recognizing “August Wilson, who exhumed and exalted the ordinary people.”\u003c/p>\n\u003cp>The Oscars for original screenplay and adapted screenplay went, respectively, to the scripts for \u003cem>Manchester By The Sea \u003c/em>and \u003cem>Moonlight\u003c/em>. \u003cem>Manchester \u003c/em>also won best actor for Casey Affleck. \u003cem> \u003c/em>\u003c/p>\n\u003cp>Politics, which had been a big question mark hanging over the ceremony ahead of time, showed up in a few ways. Absence, in at least one case, spoke as plainly as presence. Iranian filmmaker Asghar Farhadi won best foreign language film for \u003cem>The Salesman\u003c/em>, but he was not present (as he had announced he wouldn’t be). In a statement read on his behalf by Iranian engineer and space traveler Anousheh Ansari, Farhadi said that he wasn’t present out of respect for Iranians and those from the other six countries included in the travel ban issued in late January.\u003c/p>\n\u003cp>On a much lighter note, Kimmel tweeted directly at Trump at one point, asking him “u up?” and adding “#merylsayshi” in a nod to Trump’s \u003ca href=\"https://www.nytimes.com/2017/01/09/movies/trump-meryl-streep-golden-globes-speech.html?_r=0\">displeased reaction\u003c/a> to Meryl Streep’s speech at the Golden Globes. And, sometimes, even silent statements emerged: there were red-carpet pins showing support for the ACLU, GLAAD and Planned Parenthood.\u003c/p>\n\u003cp>As for Kimmel himself, he remains utterly convinced that everyone wants him to play his late-night hits — even on the Oscars. Thus, you get Mean Tweets, and you get endless riffs on his supposed feud with Matt Damon. You get a weird stunt — in this case, a bit in which Kimmel brought in a bunch of tourists from a bus who didn’t know they were being surprised with a visit to the ceremony. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, excuse me while I throw away my first draft, won’t you?\u003c/p>\n\u003cp>For quite a while, Sunday night’s Oscars seemed fairly tame. \u003cem>La La Land\u003c/em>, the retro musical with Emma Stone and Ryan Gosling, came into the Oscars as a favorite, having tied the nomination record with a total of 14. It took a while for it to get going, as the early awards were spread out across a variety of nominees. But indeed, by the time they prepared to announce best picture, \u003cem>La La Land \u003c/em>had gone on a late run and nabbed six awards: for production design, cinematography, best original score, best original song (“City Of Stars”), best actress (Stone) and best director. Its path to best picture seemed clear.\u003c/p>\n\u003cp>Faye Dunaway and Warren Beatty took the stage to announce best picture and Beatty looked at the card and paused. And then he paused more. He handed it to Dunaway, and she read the card: “\u003cem>La La Land\u003c/em>.” The producers and cast of the heavily favored film took the stage, and several of them spoke. But then, with the throng still onstage, producer Jordan Horowitz — who had already given his heartfelt thanks — returned to the microphone and announced that there had been a mistake. In fact, best picture had not been won by \u003cem>La La Land\u003c/em>, but by \u003cem>Moonlight\u003c/em>, a beautiful, moving and very inexpensive independent coming-of-age drama. Beatty, still onstage and trying to explain while surrounded by shocked producers and actors, blamed it on confusion with the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>. But either way, the \u003cem>Moonlight \u003c/em>producers stepped up and took an award that many in the room and many watching at home were already irate that they hadn’t won.\u003c/p>\n\u003cp>It hadn’t been all that unexpected an evening until then. The Oscar telecast hadn’t begun with a cornball movie-themed musical number, but with Justin Timberlake performing “Can’t Stop The Feeling,” his nominated song from the animated movie \u003cem>Trolls\u003c/em>. After guiding an auditorium full of celebrities through some very awkward dancing, Timberlake yielded the stage to first-time host Jimmy Kimmel.\u003c/p>\n\u003cp>Kimmel’s monologue was about average for such things, laced with politics as you might expect (Kimmel thanked President Trump and said, “Remember when it seemed like the \u003cem>Oscars \u003c/em>were racist?”) but also heavy on the kinds of jokes that would be B-minus jokes on an average late-night monologue (for instance, his quip that if Amazon won an Oscar for \u003cem>Manchester By The Sea\u003c/em>, it would be delivered “in two to five business days”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 12:38 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Bill Paxton, prolific actor and big-screen fixture for decades, has died at the age of 61. In a statement released to media outlets Sunday, a family representative says Paxton died of complications from surgery.\u003c/p>\n\u003cp>“A loving husband and father, Bill began his career in Hollywood working on films in the art department and went on to have an illustrious career spanning four decades as a beloved and prolific actor and filmmaker,” \u003ca href=\"https://twitter.com/NBCNews/status/835882286449033220\">the statement reads\u003c/a>.\u003c/p>\n\u003cp>“Bill’s passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable.”\u003c/p>\n\u003cp>Paxton was perhaps best known for his marquee roles in Hollywood blockbusters. From below the sea, as in \u003cem>Titanic\u003c/em>, to out of this world, as in \u003cem>Aliens\u003c/em> and \u003cem>Apollo 13\u003c/em>, Paxton starred in dozens of films and even directed a handful himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/tomhanks/status/835896205179817985\u003c/p>\n\u003cp>https://twitter.com/elijahwood/status/835876875926831104\u003c/p>\n\u003cp>More recently, Paxton had been focusing on the small screen. His role as a polygamist in HBO’s \u003cem>Big Love \u003c/em>earned him Emmy and Golden Globe nominations. And Paxton played the lead in the television spin-off of the film \u003cem>Training Day\u003c/em>, which launched on CBS earlier this month. As a corrupt LAPD detective, Paxton tackled the kind of moral ambiguity that characterized some of his most memorable roles.\u003c/p>\n\u003cp>Based on the reaction from many of his colleagues, those who worked with the beloved actor felt no such ambivalence about the man himself.\u003c/p>\n\u003cp>What may risk going unnoticed, though, is the sheer effort Paxton would put into his roles. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=99985715\" target=\"_blank\" rel=\"noopener\">2009 interview with Fresh Air’s Terry Gross\u003c/a>, Paxton explained his process while filming \u003cem>Big Love\u003c/em>.\u003c/p>\n\u003cp>“I live kind of a monastic existence. I usually stay in a hotel,” Paxton said, noting that he would spend his evenings memorizing his lines for the next day. “Every night I have five or six pages I have to learn. I don’t know if my memory is starting to fail me, but I really have to get it down cold the night before.”\u003c/p>\n\u003cp>Paxton added: “My technique is kind of like the errant schoolboy who has to stay after school and write ‘I will not talk in class’ on the chalkboard. I write it over and over, again and again, until I find I understand the character I’m playing.”\u003c/p>\n\u003cp>And though he left Texas when he was still in his teens to pursue his acting career, Paxton said he carried some crucial lessons with him that he’d learned from his father, who was a hardwood salesman.\u003c/p>\n\u003cp>“Look, I’ve been an actor most of my adult life, and you certainly have to know how to sell yourself to get on in this profession. … But it’s not a phony thing. My dad sold a good product — you know, these hardwoods were used to make everything from musical instruments to beautiful furniture and every use in between.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He had integrity about the thing he was selling,” Paxton continued. “And I certainly picked that up from him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Paxton%2C+Prolific+Actor+And+Star+Of+%27Titanic%27+And+%27Apollo+13%2C%27+Dies+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 12:38 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Bill Paxton, prolific actor and big-screen fixture for decades, has died at the age of 61. In a statement released to media outlets Sunday, a family representative says Paxton died of complications from surgery.\u003c/p>\n\u003cp>“A loving husband and father, Bill began his career in Hollywood working on films in the art department and went on to have an illustrious career spanning four decades as a beloved and prolific actor and filmmaker,” \u003ca href=\"https://twitter.com/NBCNews/status/835882286449033220\">the statement reads\u003c/a>.\u003c/p>\n\u003cp>“Bill’s passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable.”\u003c/p>\n\u003cp>Paxton was perhaps best known for his marquee roles in Hollywood blockbusters. From below the sea, as in \u003cem>Titanic\u003c/em>, to out of this world, as in \u003cem>Aliens\u003c/em> and \u003cem>Apollo 13\u003c/em>, Paxton starred in dozens of films and even directed a handful himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>More recently, Paxton had been focusing on the small screen. His role as a polygamist in HBO’s \u003cem>Big Love \u003c/em>earned him Emmy and Golden Globe nominations. And Paxton played the lead in the television spin-off of the film \u003cem>Training Day\u003c/em>, which launched on CBS earlier this month. As a corrupt LAPD detective, Paxton tackled the kind of moral ambiguity that characterized some of his most memorable roles.\u003c/p>\n\u003cp>Based on the reaction from many of his colleagues, those who worked with the beloved actor felt no such ambivalence about the man himself.\u003c/p>\n\u003cp>What may risk going unnoticed, though, is the sheer effort Paxton would put into his roles. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=99985715\" target=\"_blank\" rel=\"noopener\">2009 interview with Fresh Air’s Terry Gross\u003c/a>, Paxton explained his process while filming \u003cem>Big Love\u003c/em>.\u003c/p>\n\u003cp>“I live kind of a monastic existence. I usually stay in a hotel,” Paxton said, noting that he would spend his evenings memorizing his lines for the next day. “Every night I have five or six pages I have to learn. I don’t know if my memory is starting to fail me, but I really have to get it down cold the night before.”\u003c/p>\n\u003cp>Paxton added: “My technique is kind of like the errant schoolboy who has to stay after school and write ‘I will not talk in class’ on the chalkboard. I write it over and over, again and again, until I find I understand the character I’m playing.”\u003c/p>\n\u003cp>And though he left Texas when he was still in his teens to pursue his acting career, Paxton said he carried some crucial lessons with him that he’d learned from his father, who was a hardwood salesman.\u003c/p>\n\u003cp>“Look, I’ve been an actor most of my adult life, and you certainly have to know how to sell yourself to get on in this profession. … But it’s not a phony thing. My dad sold a good product — you know, these hardwoods were used to make everything from musical instruments to beautiful furniture and every use in between.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He had integrity about the thing he was selling,” Paxton continued. “And I certainly picked that up from him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Paxton%2C+Prolific+Actor+And+Star+Of+%27Titanic%27+And+%27Apollo+13%2C%27+Dies+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Struggles of Austin's Music Scene Mirror a Widened World",
"headTitle": "The Struggles of Austin’s Music Scene Mirror a Widened World | KQED",
"content": "\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Get Out': A Terrifically Topical — And Terrifying — Satire",
"headTitle": "‘Get Out’: A Terrifically Topical — And Terrifying — Satire | KQED",
"content": "\u003cp>Horror parodies are seldom as funny, and never as scary, as fright-flicks that play their scares, er, straight. Jordan Peele — the shorter half of the 21st century’s funniest sketch-comedy duo — understands this, and that’s why \u003cem>Get Out,\u003c/em> his debut feature as writer and director, is so truly, madly, mercilessly entertaining, even when it makes you want to jump out of your skin. It is small-c catholic in its tastes, liberally sampling elements of \u003cem>Guess Who’s Coming to Dinner, Rosemary’s Baby\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> before morphing into the most potent racial revenge fantasy since \u003cem>Django Unchained\u003c/em>. But a parody it’s not: It’s as gnarly as \u003cem>Green Room,\u003c/em> 2016’s nerviest thriller, whose villains wore their bigotry on their tattooed arms. What makes \u003cem>Get Out\u003c/em> stand out is that its social critique — usually present in the horror-survival genre as subtext — is very much its text.\u003c/p>\n\u003cp>https://youtu.be/sRfnevzM9kQ\u003c/p>\n\u003cp>That’s a writing trick Peele and his creative partner, Keegan-Michael Key, used over and over again through five seasons of their marvelous Comedy Central series, one that boasted production values that stood head and shoulders above anything else in sketch TV. \u003cem>Key & Peele\u003c/em>’s movie sendups looked like real movies, and now we have a good idea why: Peele is a world-class filmmaker. (Nearly all \u003cem>Key & Peele\u003c/em> episodes were directed by Peter Atencio, who also directed the two comics in last year’s \u003cem>Keanu\u003c/em>. That was a funny movie, but it had nothing like the invention, the intensity or the shimmering, righteous anger that \u003cem>Get Out\u003c/em> possesses.) His movie is as much a triumph of craft as of inspiration.\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>’s cautionary tale concerns Chris (Daniel Kaluuya), a 26-year-old photographer, whose white girlfriend, Rose Armitage (Allison Williams from HBO’s \u003cem>Girls,\u003c/em> though her carbon-fiber jawline makes you wonder how she hasn’t shown up in an \u003cem>Alien\u003c/em> sequel yet), takes him home to meet her affluent parents. She hasn’t told them the man she is dating is black, but she assures Chris their liberal credentials are in good standing and that he’ll be welcomed unconditionally. Chris is wary, but he loves Rose and trusts her, so he overrules his better judgment — and the warnings of his TSA agent best pal, Rod (LilRel Howery, marvelous in a comic supporting role) — and they drive upstate. When a cop demands Chris’s ID after a minor accident even though Rose was the one driving, Rose calls out the cop for profiling even though Chris is eager to comply. In Rose, it seems, Chris has found a true and constant ally.\u003c/p>\n\u003cp>The less I tell you about what happens once she introduces Chris to her folks — Catherine Keener and Bradley Whitford, perfectly cast as a smug psychiatrist and a smug neurosurgeon, respectively — the better. Let it suffice to say that Allison’s louche med-student brother (Caleb Landry Jones) can’t refrain from commenting admiringly on Chris’s “genetic makeup” and that the Armitages are weirdly insistent Chris meet every one of their neighbors, one of whom cheerfully observes that “black is in fashion again.” \u003cem>Green Room\u003c/em>’s gaptoothed skinheads had nothing on these cardigan-wearing, tea-sipping Clinton voters. Even more unsettling is the fact that the Armitages’ black housekeeper (Betty Gabriel) and their black gardener/handyman (Marcus Henderson) evince a Stepford-like servility when they’re around company and behave even more strangely when they think they’re alone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it takes a long time for the microaggressions Chris experiences at the hands of the Armitages and their confederates to harden into something more directly threatening — long enough for Chris, and for us, to wonder if he’s just being paranoid. Rose listens to him airing these concerns with saintly patience, but Peele’s handheld camera in these scenes keeps the anxiety high. It’s rare to find a first-time director so fully in command of his tone. But if 90 percent of directing is casting (an adage that’s been variously ascribed to John Ford, Elia Kazan and many others) then Peele started at 90: His actors are top-to-bottom great, but Kaluuya (whose expressive face you may recall from “15 Million Merits,” perhaps the most upsetting of all \u003cem>Black Mirror\u003c/em> episodes) is especially magnetic, letting us see the grinding gearworks behind his eyes without speaking a word.\u003c/p>\n\u003cp>That other 10 percent we have to give to Peele. He opens the picture with a long steadicam shot of a young black man’s attempt to locate an address in a suburban, presumably majority-white neighborhood after dark, while a car creeps along too slowly beside him. We’re primed to expect a Trayvon Martin-esque killing, and the way the scene resolves is the first of Peele’s many rug-pulls. It’s a powerful sequence, but \u003cem>Get Out\u003c/em> might’ve been even stronger without it. This prologue seems inserted to pre-empt complaints that \u003cem>Get Out\u003c/em> takes too long to Get Going. It doesn’t. Its pace, like everything else about it, is just right.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And righteous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Horror parodies are seldom as funny, and never as scary, as fright-flicks that play their scares, er, straight. Jordan Peele — the shorter half of the 21st century’s funniest sketch-comedy duo — understands this, and that’s why \u003cem>Get Out,\u003c/em> his debut feature as writer and director, is so truly, madly, mercilessly entertaining, even when it makes you want to jump out of your skin. It is small-c catholic in its tastes, liberally sampling elements of \u003cem>Guess Who’s Coming to Dinner, Rosemary’s Baby\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> before morphing into the most potent racial revenge fantasy since \u003cem>Django Unchained\u003c/em>. But a parody it’s not: It’s as gnarly as \u003cem>Green Room,\u003c/em> 2016’s nerviest thriller, whose villains wore their bigotry on their tattooed arms. What makes \u003cem>Get Out\u003c/em> stand out is that its social critique — usually present in the horror-survival genre as subtext — is very much its text.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sRfnevzM9kQ'\n title='//www.youtube.com/embed/sRfnevzM9kQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s a writing trick Peele and his creative partner, Keegan-Michael Key, used over and over again through five seasons of their marvelous Comedy Central series, one that boasted production values that stood head and shoulders above anything else in sketch TV. \u003cem>Key & Peele\u003c/em>’s movie sendups looked like real movies, and now we have a good idea why: Peele is a world-class filmmaker. (Nearly all \u003cem>Key & Peele\u003c/em> episodes were directed by Peter Atencio, who also directed the two comics in last year’s \u003cem>Keanu\u003c/em>. That was a funny movie, but it had nothing like the invention, the intensity or the shimmering, righteous anger that \u003cem>Get Out\u003c/em> possesses.) His movie is as much a triumph of craft as of inspiration.\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>’s cautionary tale concerns Chris (Daniel Kaluuya), a 26-year-old photographer, whose white girlfriend, Rose Armitage (Allison Williams from HBO’s \u003cem>Girls,\u003c/em> though her carbon-fiber jawline makes you wonder how she hasn’t shown up in an \u003cem>Alien\u003c/em> sequel yet), takes him home to meet her affluent parents. She hasn’t told them the man she is dating is black, but she assures Chris their liberal credentials are in good standing and that he’ll be welcomed unconditionally. Chris is wary, but he loves Rose and trusts her, so he overrules his better judgment — and the warnings of his TSA agent best pal, Rod (LilRel Howery, marvelous in a comic supporting role) — and they drive upstate. When a cop demands Chris’s ID after a minor accident even though Rose was the one driving, Rose calls out the cop for profiling even though Chris is eager to comply. In Rose, it seems, Chris has found a true and constant ally.\u003c/p>\n\u003cp>The less I tell you about what happens once she introduces Chris to her folks — Catherine Keener and Bradley Whitford, perfectly cast as a smug psychiatrist and a smug neurosurgeon, respectively — the better. Let it suffice to say that Allison’s louche med-student brother (Caleb Landry Jones) can’t refrain from commenting admiringly on Chris’s “genetic makeup” and that the Armitages are weirdly insistent Chris meet every one of their neighbors, one of whom cheerfully observes that “black is in fashion again.” \u003cem>Green Room\u003c/em>’s gaptoothed skinheads had nothing on these cardigan-wearing, tea-sipping Clinton voters. Even more unsettling is the fact that the Armitages’ black housekeeper (Betty Gabriel) and their black gardener/handyman (Marcus Henderson) evince a Stepford-like servility when they’re around company and behave even more strangely when they think they’re alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it takes a long time for the microaggressions Chris experiences at the hands of the Armitages and their confederates to harden into something more directly threatening — long enough for Chris, and for us, to wonder if he’s just being paranoid. Rose listens to him airing these concerns with saintly patience, but Peele’s handheld camera in these scenes keeps the anxiety high. It’s rare to find a first-time director so fully in command of his tone. But if 90 percent of directing is casting (an adage that’s been variously ascribed to John Ford, Elia Kazan and many others) then Peele started at 90: His actors are top-to-bottom great, but Kaluuya (whose expressive face you may recall from “15 Million Merits,” perhaps the most upsetting of all \u003cem>Black Mirror\u003c/em> episodes) is especially magnetic, letting us see the grinding gearworks behind his eyes without speaking a word.\u003c/p>\n\u003cp>That other 10 percent we have to give to Peele. He opens the picture with a long steadicam shot of a young black man’s attempt to locate an address in a suburban, presumably majority-white neighborhood after dark, while a car creeps along too slowly beside him. We’re primed to expect a Trayvon Martin-esque killing, and the way the scene resolves is the first of Peele’s many rug-pulls. It’s a powerful sequence, but \u003cem>Get Out\u003c/em> might’ve been even stronger without it. This prologue seems inserted to pre-empt complaints that \u003cem>Get Out\u003c/em> takes too long to Get Going. It doesn’t. Its pace, like everything else about it, is just right.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And righteous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 4:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A literary treasure buried for more than a century has been unearthed by Zachary Turpin, a grad student at the University of Houston.\u003c/p>\n\u003cp>It’s a work of short fiction: a 36,000-word novella published anonymously, in six parts, in a New York newspaper in 1852. The discursive nature of the manuscript’s full title — \u003cem>Life and Adventures of Jack Engle: An Auto-Biography; In Which The Reader Will Find Some Familiar Characters —\u003c/em> places it squarely in its literary era, as does its subtitle, \u003cem>A Story of New York at the Present Time\u003c/em>.\u003c/p>\n\u003cp>The find was announced on Monday as the full book was \u003ca href=\"http://ir.uiowa.edu/wwqr/vol34/iss3/3/\">published online\u003c/a> in the literary journal \u003cem>Walt Whitman Quarterly Review;\u003c/em> the University of Iowa Press is releasing it in book form.\u003c/p>\n\u003cp>What’s notable about the novella is its author — the beloved American poet Walt Whitman — and its place in Whitman’s literary career. Just three years after \u003cem>Jack Engle\u003c/em> saw print, Whitman would publish the work that would enshrine him in the American canon: \u003cem>Leaves of Grass\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to Monday’s announcement, it was believed Whitman spent the early 1850s at work on that magnum opus, publishing little of note.\u003c/p>\n\u003cp>In 1842, Whitman had published another work of fiction, a harrowing “temperance novel” about a stouthearted young man whose life is nearly destroyed by alcohol. Whitman distanced himself from that early work and never publicly acknowledged authorship of \u003cem>Jack Engle.\u003c/em>\u003c/p>\n\u003cp>Turpin spoke to NPR about his discovery, made when he was scouring a vast online database of 19th century newspapers for names found in Whitman’s notebooks.\u003c/p>\n\u003cp>“It was wild,” he told \u003cem>All Things Considered\u003c/em>‘s Ari Shapiro. “The literary research that I do isn’t as glamorous as you might think. I was actually in a guest bedroom at my in-laws’, putting together a Pack-and-Play, and I got an email. …\u003c/p>\n\u003cp>“What I’m looking for are these very unique character names Whitman had written out — Wigglesworth, Smytthe … and the first thing I see on the page are those names. … It was surreal.”\u003c/p>\n\u003cp>Turpin describes the book as, among other things, Dickensian. “It’s also a sentimental novel; it’s also city mystery novel. It’s multifaceted, let’s put it that way.”\u003c/p>\n\u003cp>As for how \u003cem>Jack Engle\u003c/em> intersects \u003cem>Leaves of Grass\u003c/em>, Turpin says, “They’re apples and oranges. You have certain passages like [those excerpted below] that are remarkably similar, that presages … \u003cem>Leaves of Grass,\u003c/em> which he was probably writing simultaneously. … There are also elements that are wildly different — chases across New York and romances and scheming, mustache-twisting villains are not the stuff of \u003cem>Leaves of Grass,\u003c/em> but these are the stuff of Whitman’s long and storied fiction career, and career as a journalist.”\u003c/p>\n\u003cp>As for what Turpin thinks of the the work itself, he says, “I’m really blown away by this book. … It’s all things to all men. It’s weird, it’s wild, it’s beautiful and hilarious, and turns on a dime in ways that are both great and terrible. It’s truly phenomenal, and I think something that everyone will enjoy picking up.”\u003c/p>\n\u003cp>It’s the second time in as many years Turpin has made such a discovery. Previously, he found another Whitman manuscript, a series of articles offering tips for a healthy and vigorous lifestyle, in another newspaper.\u003c/p>\n\u003cp>Asked if historians should respect Whitman’s wish for his early work to “be dropped in oblivion,” Turpin says, “I respect that … on the other hand, Whitman’s greatest wish was to be the greatest and most famous poet in America.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>In this excerpt, the narrator stops into the graveyard of Manhattan’s Trinity Church and muses about mortality. Turpin and other Whitman scholars believe this section offers a glimpse of the poet engaging with some of the same language and themes that would define \u003cem>Leaves of Grass:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“Truly, life is sweet to the young man.—Such bounding and swelling capacities for joy reside within him, and such ambitious yearnings. Health and unfettered spirits are his staff and mantle. He learns unthinkingly to love—that glorious privilege of youth! Out of the tiny fractions of his experience, he builds beautiful imaginings, and confidently looks for the future to realize them. And then he is so sure of those future years. …\u003c/p>\n\u003cp>“Out there in the fashionable thoroughfare, how bustling was life, and how jauntily it wandered close along the side of those warnings of its inevitable end. How gay that throng along the walk! Light laughs come from them, and jolly talk — those groups of well-dressed young men — those merry boys returning from school — clerks going home from their labors — and many a form, too, of female grace and elegance.\u003c/p>\n\u003cp>“Could it be that coffins, six feet below where I stood, enclosed the ashes of like young men, whose vestments, during life, had engrossed the same anxious care — and schoolboys and beautiful women; for they too were buried here, as well as the aged and infirm.\u003c/p>\n\u003cp>“But onward rolled the broad, bright current, and troubled themselves not yet with gloomy thoughts; and that showed more philosophy in them perhaps than such sentimental meditations as any the reader has been perusing.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grad+Student+Discovers+A+Lost+Novel+Written+By+Walt+Whitman++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A literary treasure buried for more than a century has been unearthed by Zachary Turpin, a grad student at the University of Houston.\u003c/p>\n\u003cp>It’s a work of short fiction: a 36,000-word novella published anonymously, in six parts, in a New York newspaper in 1852. The discursive nature of the manuscript’s full title — \u003cem>Life and Adventures of Jack Engle: An Auto-Biography; In Which The Reader Will Find Some Familiar Characters —\u003c/em> places it squarely in its literary era, as does its subtitle, \u003cem>A Story of New York at the Present Time\u003c/em>.\u003c/p>\n\u003cp>The find was announced on Monday as the full book was \u003ca href=\"http://ir.uiowa.edu/wwqr/vol34/iss3/3/\">published online\u003c/a> in the literary journal \u003cem>Walt Whitman Quarterly Review;\u003c/em> the University of Iowa Press is releasing it in book form.\u003c/p>\n\u003cp>What’s notable about the novella is its author — the beloved American poet Walt Whitman — and its place in Whitman’s literary career. Just three years after \u003cem>Jack Engle\u003c/em> saw print, Whitman would publish the work that would enshrine him in the American canon: \u003cem>Leaves of Grass\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to Monday’s announcement, it was believed Whitman spent the early 1850s at work on that magnum opus, publishing little of note.\u003c/p>\n\u003cp>In 1842, Whitman had published another work of fiction, a harrowing “temperance novel” about a stouthearted young man whose life is nearly destroyed by alcohol. Whitman distanced himself from that early work and never publicly acknowledged authorship of \u003cem>Jack Engle.\u003c/em>\u003c/p>\n\u003cp>Turpin spoke to NPR about his discovery, made when he was scouring a vast online database of 19th century newspapers for names found in Whitman’s notebooks.\u003c/p>\n\u003cp>“It was wild,” he told \u003cem>All Things Considered\u003c/em>‘s Ari Shapiro. “The literary research that I do isn’t as glamorous as you might think. I was actually in a guest bedroom at my in-laws’, putting together a Pack-and-Play, and I got an email. …\u003c/p>\n\u003cp>“What I’m looking for are these very unique character names Whitman had written out — Wigglesworth, Smytthe … and the first thing I see on the page are those names. … It was surreal.”\u003c/p>\n\u003cp>Turpin describes the book as, among other things, Dickensian. “It’s also a sentimental novel; it’s also city mystery novel. It’s multifaceted, let’s put it that way.”\u003c/p>\n\u003cp>As for how \u003cem>Jack Engle\u003c/em> intersects \u003cem>Leaves of Grass\u003c/em>, Turpin says, “They’re apples and oranges. You have certain passages like [those excerpted below] that are remarkably similar, that presages … \u003cem>Leaves of Grass,\u003c/em> which he was probably writing simultaneously. … There are also elements that are wildly different — chases across New York and romances and scheming, mustache-twisting villains are not the stuff of \u003cem>Leaves of Grass,\u003c/em> but these are the stuff of Whitman’s long and storied fiction career, and career as a journalist.”\u003c/p>\n\u003cp>As for what Turpin thinks of the the work itself, he says, “I’m really blown away by this book. … It’s all things to all men. It’s weird, it’s wild, it’s beautiful and hilarious, and turns on a dime in ways that are both great and terrible. It’s truly phenomenal, and I think something that everyone will enjoy picking up.”\u003c/p>\n\u003cp>It’s the second time in as many years Turpin has made such a discovery. Previously, he found another Whitman manuscript, a series of articles offering tips for a healthy and vigorous lifestyle, in another newspaper.\u003c/p>\n\u003cp>Asked if historians should respect Whitman’s wish for his early work to “be dropped in oblivion,” Turpin says, “I respect that … on the other hand, Whitman’s greatest wish was to be the greatest and most famous poet in America.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>In this excerpt, the narrator stops into the graveyard of Manhattan’s Trinity Church and muses about mortality. Turpin and other Whitman scholars believe this section offers a glimpse of the poet engaging with some of the same language and themes that would define \u003cem>Leaves of Grass:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“Truly, life is sweet to the young man.—Such bounding and swelling capacities for joy reside within him, and such ambitious yearnings. Health and unfettered spirits are his staff and mantle. He learns unthinkingly to love—that glorious privilege of youth! Out of the tiny fractions of his experience, he builds beautiful imaginings, and confidently looks for the future to realize them. And then he is so sure of those future years. …\u003c/p>\n\u003cp>“Out there in the fashionable thoroughfare, how bustling was life, and how jauntily it wandered close along the side of those warnings of its inevitable end. How gay that throng along the walk! Light laughs come from them, and jolly talk — those groups of well-dressed young men — those merry boys returning from school — clerks going home from their labors — and many a form, too, of female grace and elegance.\u003c/p>\n\u003cp>“Could it be that coffins, six feet below where I stood, enclosed the ashes of like young men, whose vestments, during life, had engrossed the same anxious care — and schoolboys and beautiful women; for they too were buried here, as well as the aged and infirm.\u003c/p>\n\u003cp>“But onward rolled the broad, bright current, and troubled themselves not yet with gloomy thoughts; and that showed more philosophy in them perhaps than such sentimental meditations as any the reader has been perusing.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grad+Student+Discovers+A+Lost+Novel+Written+By+Walt+Whitman++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After Comments on Pedophilia, Breitbart Editor Milo Yiannopoulos Resigns",
"headTitle": "After Comments on Pedophilia, Breitbart Editor Milo Yiannopoulos Resigns | KQED",
"content": "\u003cp>Breitbart News editor Milo Yiannopoulos has resigned amid a social media backlash over comments he made that appeared to condone pedophilia.\u003c/p>\n\u003cp>In a news conference Tuesday, Yiannopoulos said his resignation was effective immediately and praised the website as “a significant factor in my success.”\u003c/p>\n\u003cp>[contextly_sidebar id=”PE5TQTVM9Cw6UCuEbnBVJDgzBKXnWzJN”]\u003c/p>\n\u003cp>He also explained his views on sex with minors, insisting that he does not condone statutory rape.\u003c/p>\n\u003cp>“I do not believe any change in the legal age of consent is justifiable or desirable,” Yiannopoulos said. He was referring to \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> in live-streamed interviews more than a year ago in which he said, “We get hung up on this kind of child abuse stuff,” and referenced, “this arbitrary and oppressive idea of consent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I said some things on those Internet live streams that were simply wrong,” he said Tuesday.\u003c/p>\n\u003cp>He also said that he had been sexually abused as a child.\u003c/p>\n\u003cp>Yiannopoulos’ resignation comes one day after he lost both a prominent speaking gig at a conservative meeting and a book deal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/20/516332666/after-underage-sex-comments-milo-yiannopoulos-loses-cpac-invite-book-deal\" target=\"_blank\" rel=\"noopener\">As The Two Way reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“First, Monday afternoon the American Conservative Union rescinded its invitation to the right-wing provocateur — noted for his political posts on the Internet — to speak at its annual Conservative Political Action Conference this upcoming weekend. Then, a few hours later, Simon & Schuster announced that it was canceling the publication of Yiannopoulos’ upcoming book, \u003cem>Dangerous.\u003c/em>\u003c/p>\n\u003cp>“These actions come in the wake of a social media backlash against Yiannopoulos after the conservative news outlet The Reagan Battalion \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">tweeted videos\u003c/a> on Sunday in which Yiannopoulos appears to condone statutory rape and sexual relationships between boys and men.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Yiannopoulos had tried to clarify his comments Monday on Facebook, defending his remarks and referencing his own sexual history while also blaming his own “sloppy phrasing” and “deceptive” video editing.\u003c/p>\n\u003cp>He said Tuesday that other publishers had expressed interest in his book, and that he expected it to be published this year. He also said he was founding an “independently funded media venture” and would be going on a “live tour in the coming weeks,” including appearances on college campuses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/02/02/513105012/berkeley-students-debate-cancellation-of-milo-yiannopoulos-speech\" target=\"_blank\" rel=\"noopener\">Earlier this month\u003c/a>, a Yiannopoulos speaking engagement at the University of California, Berkeley was canceled after students protests turned violent. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comments+On+Pedophilia%2C+Breitbart+Editor+Milo+Yiannopoulos+Resigns+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I said some things on those Internet live streams that were simply wrong,” he said Tuesday.\u003c/p>\n\u003cp>He also said that he had been sexually abused as a child.\u003c/p>\n\u003cp>Yiannopoulos’ resignation comes one day after he lost both a prominent speaking gig at a conservative meeting and a book deal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/20/516332666/after-underage-sex-comments-milo-yiannopoulos-loses-cpac-invite-book-deal\" target=\"_blank\" rel=\"noopener\">As The Two Way reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“First, Monday afternoon the American Conservative Union rescinded its invitation to the right-wing provocateur — noted for his political posts on the Internet — to speak at its annual Conservative Political Action Conference this upcoming weekend. Then, a few hours later, Simon & Schuster announced that it was canceling the publication of Yiannopoulos’ upcoming book, \u003cem>Dangerous.\u003c/em>\u003c/p>\n\u003cp>“These actions come in the wake of a social media backlash against Yiannopoulos after the conservative news outlet The Reagan Battalion \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">tweeted videos\u003c/a> on Sunday in which Yiannopoulos appears to condone statutory rape and sexual relationships between boys and men.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Yiannopoulos had tried to clarify his comments Monday on Facebook, defending his remarks and referencing his own sexual history while also blaming his own “sloppy phrasing” and “deceptive” video editing.\u003c/p>\n\u003cp>He said Tuesday that other publishers had expressed interest in his book, and that he expected it to be published this year. He also said he was founding an “independently funded media venture” and would be going on a “live tour in the coming weeks,” including appearances on college campuses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/02/02/513105012/berkeley-students-debate-cancellation-of-milo-yiannopoulos-speech\" target=\"_blank\" rel=\"noopener\">Earlier this month\u003c/a>, a Yiannopoulos speaking engagement at the University of California, Berkeley was canceled after students protests turned violent. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comments+On+Pedophilia%2C+Breitbart+Editor+Milo+Yiannopoulos+Resigns+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Opening a few miles from its namesake, \u003cem>The Great Wall\u003c/em> introduces a group of European knaves who have somehow trekked to northwestern China during the Song Dynasty (960-1279). Most prominent among these thieves and mercenaries is William (Matt Damon), who’s supposed to be British, although the actor doesn’t further burden his stiff line readings with a feigned brogue. The outlanders’ goal is to acquire some gunpowder, a Chinese invention with solid commercial prospects in war-happy Europe.\u003c/p>\n\u003cp>All the other rascals except Tovar (Chilean actor Pedro Pascal) are quickly dispatched. While being chased, the last two interlopers find their path blocked by that big wall and the troops that protect China from the menaces on the north side of the barrier. There are hundreds of color-coordinated warriors, but the important ones are strategist Wang (Hong Kong cinema lifer Andy Lau) and battalion commander Lin (Jing Tian, soon to be seen in \u003cem>Kong: Skull Island\u003c/em>).\u003c/p>\n\u003cp>https://youtu.be/avF6GHyyk5c\u003c/p>\n\u003cp>A lithe if blank beauty in skin-tight battle togs, Lin seems to have hatched not from Chinese lore but from Japanese anime. That’s appropriate, since she and her cohorts defend China’s capital from the Taotie, ravenous reptilian monsters with a strong family resemblance to Godzilla. (They also have zombie tendencies, and among the many credited writers — all Westerners — is \u003cem>World War Z\u003c/em> author Max Brooks.)\u003c/p>\n\u003cp>This scenario may make \u003cem>The Great Wall\u003c/em> sound entertainingly demented, but as so-nuts-it’s-good spectacle, the movie disappoints. It’s bonkers in theory, but prosaic in execution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The monsters attack every 60 years, and are “evolving” intelligence at a rate that could make Darwinists reconsider the great man’s theory. Led by their queen, the Taotie intend to breach the wall, attack the capital, and eat the boy emperor and everyone else. By comparison, the Cultural Revolution was a paper cut.\u003c/p>\n\u003cp>Most of the movie is devoted to quick-cut combat and creepy-monster mayhem. Occasionally, the rhythm slows so that Lin can teach William the Chinese virtues of cooperation and self-sacrifice. The lessons transform him, but prove less persuasive to Tovar and another English-speaking rogue who arrived earlier (Willem Dafoe). Those two scurry off to initiate a subplot while arrows fly, spears puncture, and red and green blood gushes.\u003c/p>\n\u003cp>Originally assigned to Edward Zwick, the film was ultimately directed by Zhang Yimou, but it’s not a testament to his skill or sensibility. Zhang has balanced spectacle and social conscience in such powerful dramas as \u003cem>Raise the Red Lantern\u003c/em> and staged dazzling action in fanciful romps such as \u003cem>House of Flying Daggers\u003c/em>. This movie feels closer to a more nationalistic Zhang production: the opening and closing ceremonies of the 2008 Beijing Olympics.\u003c/p>\n\u003cp>The director punctuates the warfare with pageantry: drum troupes, choreographed mass movements, and the release of thousands of airborne lanterns. Sometimes it seems that the Taotie, rather than scramble across the landscape with their jaws open, should march in orderly columns, wearing matching team jackets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the stagiest sequences are visually impressive, much of the movie is not. The 3D images feature lots of camera swoops and ostentatious closeups, and are sometimes as low-def as a holographic ring from a 1960s gumball machine. No one could have expected \u003cem>The Great Wall\u003c/em> to make sense, but that it doesn’t look very good is a nastier surprise than any shock cut of a looming mini-Godzilla. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"content": "\u003cp>The hugely successful fantasy trilogy \u003cem>His Dark Materials\u003c/em> will be getting a “companion” trilogy, author Philip Pullman announced this evening.\u003c/p>\n\u003cp>The first book of the new series, which will collectively be called \u003cem>The Book of Dust\u003c/em>, is set for publication on October 19.\u003c/p>\n\u003cp>The original \u003cem>His Dark Materials\u003c/em> trilogy consists of three volumes (\u003cem>The Golden Compass, The Subtle Knife, \u003c/em>and\u003cem> The Amber Spyglass\u003c/em>) published between 1995 and 2000. The series has sold over 17.5 million copies and been translated into 40 languages.\u003c/p>\n\u003cp>The events of the first trilogy took place across several parallel worlds — including our own — and touched on disparate ideas related to theology, particle physics, and the loss of childhood innocence. Characters included a headstrong and fiercely intelligent young girl named Lyra Belacqua, and an armored, talking polar bear.\u003c/p>\n\u003cp>\u003cem>The Book of Dust\u003c/em> will return to the world(s) and characters of \u003cem>His Dark Materials,\u003c/em> Pullman said, and Lyra will be integral to the new story — but not in the way she was before. The first volume will take place a decade before the events of \u003cem>His Dark Materials\u003c/em>, when Lyra is an infant. The second and third volumes will be set ten years after the original trilogy’s conclusion, and will follow Lyra as a young woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But that doesn’t mean what you might expect, Pullman told NPR editor Glen Weldon. He wants readers to consider the new work not as a simple extension of the original trilogy, but as a “companion” to it.\u003c/p>\n\u003cp>“The [new] story begins before \u003cem>His Dark Materials\u003c/em> and continues after it,” he said, “… you don’t have to read it before you read [the original trilogy] … this is another story that comes after it, so it’s not a sequel, and it’s not a prequel, it’s an \u003cem>equal\u003c/em>.”\u003c/p>\n\u003cp>The title, \u003cem>The Book of Dust\u003c/em>, refers to an invisible substance that figures largely in the earlier books — a fictional elementary particle that harbors a mysterious affinity with human consciousness.\u003c/p>\n\u003cp>“That’s what I really wanted to explore in this new work,” he said. “More about the nature of Dust, and consciousness, and what it means to be a human being.”\u003c/p>\n\u003cp>Pullman has already followed up the original trilogy with two novellas and an audiobook. He said he was motivated to revisit the world of Lyra and her companions with a full trilogy because “I sensed a big story. I sensed the presence, in the way that you do, of another story that hadn’t been told, and I went closer and … thought about it and lived with it for a while and discovered that yes, it was a big story, and it did deserve to be told, it deserves its own books.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On where \u003cem>The Book of Dust\u003c/em> will fall in the saga\u003c/strong>\u003c/p>\n\u003cp>Well, the first book is set roughly ten years before the action of \u003cem>His Dark Materials\u003c/em>. And the second book and subsequent books … are set ten years after it. So in the first one, Lyra is only a baby of about six months. So she’s not able to do very much, but she’s certainly the focus of intense activity on the part of the main protagonists. In the second book she will be twenty years old, she’ll be an adult….\u003c/p>\n\u003cp>It’s a sort of companion book, if you like. It doesn’t stand before [\u003cem>His Dark Materials\u003c/em>], it doesn’t stand after it, it stands beside it.\u003c/p>\n\u003cp>\u003cstrong>On why he’s calling it \u003cem>The Book of Dust\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Dust is something which terrifies the religious authorities in \u003cem>His Dark Materials\u003c/em>. It seems to have something to do with human consciousness, it seems to have something to do with experience, or as they call it, “sin.” But they don’t know what it is, or why it’s important, and they’re terrified of it. Now, in the course of the story, Lyra and her companions discover something about Dust, something important: that it’s not a bad thing, it’s a good thing.\u003c/p>\n\u003cp>\u003cstrong>On whether the overwhelming worldwide reaction to the original trilogy colors his writing of the new one\u003c/strong>\u003c/p>\n\u003cp>When I wrote the first series, starting in 1993, I didn’t expect more than a readership of about two or three thousand. That’s sort of based on previous experience and thinking what sort of book it was, I didn’t think it would have very wide audience but maybe a few people would enjoy it. The fact that it was received with such interest all over the world in 40 different languages really did amaze me.\u003c/p>\n\u003cp>It didn’t change what I was doing, though, because I was already in my late 40s when I was starting that, I wasn’t a very young writer bowled over by all the response and attention and so on. I was pretty clear and determined about what I was doing and how I was doing it. The only difference it made was that I had a lot more letters to write back. To answer. Nowadays I communicate by Twitter, but back in those days there were a lot of letters to write back, which I duly did.\u003c/p>\n\u003cp>\u003cstrong>On his impatient readership\u003c/strong>\u003c/p>\n\u003cp>Well, I have a standard answer. When people say “How’s \u003cem>The Book of Dust\u003c/em> getting along? When’s it going to be finished?” I say, with perfect truth, “It is three pages longer today than it was yesterday.”\u003c/p>\n\u003cp>\u003cstrong>On the criticism his books have received\u003c/strong>\u003c/p>\n\u003cp>I’ve been greatly criticized for the attention to religion that I give in the books, but I’ve been criticized, on the whole, by people who haven’t read the books. My attitude to religion is that religion is a most interesting and extraordinary human phenomenon. I’m fascinated by it, interested in it, and at some points critical of it. And the points when I become critical are the points when politics come into it, and religion acquires political power — political with a small “p,” for example, within the confines of a single family, or Political with a large “P,” on a national or international scale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When religion gets the power to tell people how to dress, who to fall in love with, how to behave, what they must not read, what they must not wear, all those things, then religion goes bad. … Religion is private thing, and a fine thing and a good thing, as long as it remains private. As soon as it becomes public and political, it’s dangerous. That’s the position I’ve taken up in the first series and the position this current one takes up as well. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Philip+Pullman+Announces+A+Follow-Up+Trilogy+To+%27His+Dark+Materials%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hugely successful fantasy trilogy \u003cem>His Dark Materials\u003c/em> will be getting a “companion” trilogy, author Philip Pullman announced this evening.\u003c/p>\n\u003cp>The first book of the new series, which will collectively be called \u003cem>The Book of Dust\u003c/em>, is set for publication on October 19.\u003c/p>\n\u003cp>The original \u003cem>His Dark Materials\u003c/em> trilogy consists of three volumes (\u003cem>The Golden Compass, The Subtle Knife, \u003c/em>and\u003cem> The Amber Spyglass\u003c/em>) published between 1995 and 2000. The series has sold over 17.5 million copies and been translated into 40 languages.\u003c/p>\n\u003cp>The events of the first trilogy took place across several parallel worlds — including our own — and touched on disparate ideas related to theology, particle physics, and the loss of childhood innocence. Characters included a headstrong and fiercely intelligent young girl named Lyra Belacqua, and an armored, talking polar bear.\u003c/p>\n\u003cp>\u003cem>The Book of Dust\u003c/em> will return to the world(s) and characters of \u003cem>His Dark Materials,\u003c/em> Pullman said, and Lyra will be integral to the new story — but not in the way she was before. The first volume will take place a decade before the events of \u003cem>His Dark Materials\u003c/em>, when Lyra is an infant. The second and third volumes will be set ten years after the original trilogy’s conclusion, and will follow Lyra as a young woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that doesn’t mean what you might expect, Pullman told NPR editor Glen Weldon. He wants readers to consider the new work not as a simple extension of the original trilogy, but as a “companion” to it.\u003c/p>\n\u003cp>“The [new] story begins before \u003cem>His Dark Materials\u003c/em> and continues after it,” he said, “… you don’t have to read it before you read [the original trilogy] … this is another story that comes after it, so it’s not a sequel, and it’s not a prequel, it’s an \u003cem>equal\u003c/em>.”\u003c/p>\n\u003cp>The title, \u003cem>The Book of Dust\u003c/em>, refers to an invisible substance that figures largely in the earlier books — a fictional elementary particle that harbors a mysterious affinity with human consciousness.\u003c/p>\n\u003cp>“That’s what I really wanted to explore in this new work,” he said. “More about the nature of Dust, and consciousness, and what it means to be a human being.”\u003c/p>\n\u003cp>Pullman has already followed up the original trilogy with two novellas and an audiobook. He said he was motivated to revisit the world of Lyra and her companions with a full trilogy because “I sensed a big story. I sensed the presence, in the way that you do, of another story that hadn’t been told, and I went closer and … thought about it and lived with it for a while and discovered that yes, it was a big story, and it did deserve to be told, it deserves its own books.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On where \u003cem>The Book of Dust\u003c/em> will fall in the saga\u003c/strong>\u003c/p>\n\u003cp>Well, the first book is set roughly ten years before the action of \u003cem>His Dark Materials\u003c/em>. And the second book and subsequent books … are set ten years after it. So in the first one, Lyra is only a baby of about six months. So she’s not able to do very much, but she’s certainly the focus of intense activity on the part of the main protagonists. In the second book she will be twenty years old, she’ll be an adult….\u003c/p>\n\u003cp>It’s a sort of companion book, if you like. It doesn’t stand before [\u003cem>His Dark Materials\u003c/em>], it doesn’t stand after it, it stands beside it.\u003c/p>\n\u003cp>\u003cstrong>On why he’s calling it \u003cem>The Book of Dust\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Dust is something which terrifies the religious authorities in \u003cem>His Dark Materials\u003c/em>. It seems to have something to do with human consciousness, it seems to have something to do with experience, or as they call it, “sin.” But they don’t know what it is, or why it’s important, and they’re terrified of it. Now, in the course of the story, Lyra and her companions discover something about Dust, something important: that it’s not a bad thing, it’s a good thing.\u003c/p>\n\u003cp>\u003cstrong>On whether the overwhelming worldwide reaction to the original trilogy colors his writing of the new one\u003c/strong>\u003c/p>\n\u003cp>When I wrote the first series, starting in 1993, I didn’t expect more than a readership of about two or three thousand. That’s sort of based on previous experience and thinking what sort of book it was, I didn’t think it would have very wide audience but maybe a few people would enjoy it. The fact that it was received with such interest all over the world in 40 different languages really did amaze me.\u003c/p>\n\u003cp>It didn’t change what I was doing, though, because I was already in my late 40s when I was starting that, I wasn’t a very young writer bowled over by all the response and attention and so on. I was pretty clear and determined about what I was doing and how I was doing it. The only difference it made was that I had a lot more letters to write back. To answer. Nowadays I communicate by Twitter, but back in those days there were a lot of letters to write back, which I duly did.\u003c/p>\n\u003cp>\u003cstrong>On his impatient readership\u003c/strong>\u003c/p>\n\u003cp>Well, I have a standard answer. When people say “How’s \u003cem>The Book of Dust\u003c/em> getting along? When’s it going to be finished?” I say, with perfect truth, “It is three pages longer today than it was yesterday.”\u003c/p>\n\u003cp>\u003cstrong>On the criticism his books have received\u003c/strong>\u003c/p>\n\u003cp>I’ve been greatly criticized for the attention to religion that I give in the books, but I’ve been criticized, on the whole, by people who haven’t read the books. My attitude to religion is that religion is a most interesting and extraordinary human phenomenon. I’m fascinated by it, interested in it, and at some points critical of it. And the points when I become critical are the points when politics come into it, and religion acquires political power — political with a small “p,” for example, within the confines of a single family, or Political with a large “P,” on a national or international scale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When religion gets the power to tell people how to dress, who to fall in love with, how to behave, what they must not read, what they must not wear, all those things, then religion goes bad. … Religion is private thing, and a fine thing and a good thing, as long as it remains private. As soon as it becomes public and political, it’s dangerous. That’s the position I’ve taken up in the first series and the position this current one takes up as well. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Philip+Pullman+Announces+A+Follow-Up+Trilogy+To+%27His+Dark+Materials%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The winning image of the 2017 World Press Photo of the Year award was described by one jury member as the “face of hatred.”\u003c/p>\n\u003cp>It shows a shouting, suit-clad gunman standing in an art gallery in Turkey’s capital, one hand holding a weapon, the other pointing to the sky. On the ground next to him is the crumpled body of his victim, Russian Ambassador Andrei Karlov.\u003c/p>\n\u003cp>Associated Press photographer Burhan Ozbilici, who happened to stop in at the gallery in Ankara on his way home from work on Dec. 19, 2016, was just a few feet away from the shooting and documented the harrowing event.\u003c/p>\n\u003cp>“I remember thinking: ‘I might be killed or injured, but the Russian ambassador has been shot. This is very big news, so as a journalist it is my responsibility to stand and do my work,'” Ozbilici said in an interview with World Press Photo’s \u003ca href=\"https://witness.worldpressphoto.org/photographing-an-assassination-b188572a80f5#.44lxsgzbs\" target=\"_blank\" rel=\"noopener\">Witness magazine\u003c/a>. “Even if I was killed, there would still be photos.”\u003c/p>\n\u003cp>Jury members made it clear there was a difficult debate over whether selecting the photo might send the wrong message.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the end we felt that the picture of the Year was an explosive image that really spoke to the hatred of our times,” jury member Mary Calvert \u003ca href=\"https://www.worldpressphoto.org/news/2017-02-13/world-press-photo-announces-winners-2017-contests\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomizes the definition of what the World Press Photo of the Year is and means.”\u003c/p>\n\u003cp>For juror João Silva, this photo gives a sense of the current global moment: “I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”\u003c/p>\n\u003cp>But the jury’s chairman, Stuart Franklin, has publicly stated that he found the choice morally problematic. In an opinion piece \u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu\" target=\"_blank\" rel=\"noopener\">published in The Guardian\u003c/a>, he said he admires Ozbilici’s bravery and skill, but voted against his image. Franklin says his reasons highlight a debate that dates back millennia:\u003c/p>\n\u003cblockquote>\n\u003cp>“Placing the photograph on this high pedestal is an invitation to those contemplating such staged spectaculars: it reaffirms the compact between martyrdom and publicity. …\u003c/p>\n\u003cp>“To be clear, my moral position is not that the well-intentioned photographer should be denied the credit he deserves; rather that I feared we’d be amplifying a terrorist’s message through the additional publicity that the top prize attracts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Calvert \u003ca href=\"https://lens.blogs.nytimes.com/2017/02/13/the-worlds-best-photo-world-press-awards/?_r=0\" target=\"_blank\" rel=\"noopener\">told The New York Times\u003c/a> that jury was “rewarding the photographer, not rewarding the crime” — and the image is a powerful, historically relevant record of our current moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ozbilici told Witness that his work “represented a long tradition of good, independent journalism and good news photos.” And that makes him “happy and proud — proud of all good journalists, those living and those who have been killed doing their work, at a time when people are trying to manipulate the media, and the quality of journalism is often ignored.”\u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu#img-2\" target=\"_blank\" rel=\"noopener\">\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Explosive%27+Image+Of+An+Assassination+Wins+World+Press+Photo+Of+The+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The winning image of the 2017 World Press Photo of the Year award was described by one jury member as the “face of hatred.”\u003c/p>\n\u003cp>It shows a shouting, suit-clad gunman standing in an art gallery in Turkey’s capital, one hand holding a weapon, the other pointing to the sky. On the ground next to him is the crumpled body of his victim, Russian Ambassador Andrei Karlov.\u003c/p>\n\u003cp>Associated Press photographer Burhan Ozbilici, who happened to stop in at the gallery in Ankara on his way home from work on Dec. 19, 2016, was just a few feet away from the shooting and documented the harrowing event.\u003c/p>\n\u003cp>“I remember thinking: ‘I might be killed or injured, but the Russian ambassador has been shot. This is very big news, so as a journalist it is my responsibility to stand and do my work,'” Ozbilici said in an interview with World Press Photo’s \u003ca href=\"https://witness.worldpressphoto.org/photographing-an-assassination-b188572a80f5#.44lxsgzbs\" target=\"_blank\" rel=\"noopener\">Witness magazine\u003c/a>. “Even if I was killed, there would still be photos.”\u003c/p>\n\u003cp>Jury members made it clear there was a difficult debate over whether selecting the photo might send the wrong message.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the end we felt that the picture of the Year was an explosive image that really spoke to the hatred of our times,” jury member Mary Calvert \u003ca href=\"https://www.worldpressphoto.org/news/2017-02-13/world-press-photo-announces-winners-2017-contests\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomizes the definition of what the World Press Photo of the Year is and means.”\u003c/p>\n\u003cp>For juror João Silva, this photo gives a sense of the current global moment: “I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”\u003c/p>\n\u003cp>But the jury’s chairman, Stuart Franklin, has publicly stated that he found the choice morally problematic. In an opinion piece \u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu\" target=\"_blank\" rel=\"noopener\">published in The Guardian\u003c/a>, he said he admires Ozbilici’s bravery and skill, but voted against his image. Franklin says his reasons highlight a debate that dates back millennia:\u003c/p>\n\u003cblockquote>\n\u003cp>“Placing the photograph on this high pedestal is an invitation to those contemplating such staged spectaculars: it reaffirms the compact between martyrdom and publicity. …\u003c/p>\n\u003cp>“To be clear, my moral position is not that the well-intentioned photographer should be denied the credit he deserves; rather that I feared we’d be amplifying a terrorist’s message through the additional publicity that the top prize attracts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Calvert \u003ca href=\"https://lens.blogs.nytimes.com/2017/02/13/the-worlds-best-photo-world-press-awards/?_r=0\" target=\"_blank\" rel=\"noopener\">told The New York Times\u003c/a> that jury was “rewarding the photographer, not rewarding the crime” — and the image is a powerful, historically relevant record of our current moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ozbilici told Witness that his work “represented a long tradition of good, independent journalism and good news photos.” And that makes him “happy and proud — proud of all good journalists, those living and those who have been killed doing their work, at a time when people are trying to manipulate the media, and the quality of journalism is often ignored.”\u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu#img-2\" target=\"_blank\" rel=\"noopener\">\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Explosive%27+Image+Of+An+Assassination+Wins+World+Press+Photo+Of+The+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The LEGO Batman Movie' Drags The Caped Crusader Out Of The Shadows (Again)",
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"content": "\u003cp>Sunrise, sunset: light into darkness, darkness into light.\u003c/p>\n\u003cp>This perpetual cycling through archetypal phases of yin and yang, light slapstick and dour melodrama, is what lends Batman his unique mutability. His fellow heroes are a more stolid lot. They tend to pick a lane and stick with it.\u003c/p>\n\u003cp>Not Batman. Dude’s ephemeral. A veritable will o’ the wisp, that guy.\u003c/p>\n\u003cp>For 78 years we nerds, devout students of his endless adventures, have witnessed him phasing through this dark/light cycle on the comics page. But when it comes to shaping the idea of Batman — how he exists in the public consciousness — it’s TV and movies that matter.\u003c/p>\n\u003cp>And it’s possible to see that same cycle at work there, too, if you know where and how to look for it. Every turn of the cycle occurs for a reason, as a reaction to the phase that came before.\u003c/p>\n\u003ch3>1966: Camp Crusader\u003c/h3>\n\u003cp>https://youtu.be/mjKyGs-G6Sg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ’60s Batman television series starring Adam West brought the Caped Crusader before the eyes of the wider world in a huge way. A huge, goofy way.\u003c/p>\n\u003cp>The network and studio executives behind the series didn’t create the show out of any particular love for the character. In fact, they considered Batman — and superheroes, and comics themselves — to be disposable junk culture. They approached the creation of the series from the outside: producer Bill Dozier read a few Batman comics, and decided to reproduce them exactly — but with a tone that treated them like serious drama, like Ibsen’s \u003cem>A Doll’s House\u003c/em> in tights.\u003c/p>\n\u003cp>They made him a square, a cop in a cape, a bat-eared representation of the Establishment. He drank milk, lectured Robin about pedestrian safety, and would never think of double-parking the Batmobile. That tone, and the campy silliness it engendered, made the show a sensation, albeit a short-lived one.\u003c/p>\n\u003cp>Everything about the show’s approach angered Batman’s hardcore fans, however, and their resentment would live on long after the series went off the air. It was so strong, in fact, that it threw a long shadow from which Batman is only now beginning to emerge.\u003c/p>\n\u003ch3>1989: Bat-Goth\u003c/h3>\n\u003cp>https://youtu.be/G13ZHx36l8M\u003c/p>\n\u003cp>Throughout the ’70s and ’80s the Batman of the comics existed as a spirited refutation of everything the ’60 TV series had stood for. This new Batman was a brooding loner (Robin had shipped off to college) who haunted the urban night.\u003c/p>\n\u003cp>It was this Batman that director Tim Burton picked up on, in creating the 1989 \u003cem>Batman\u003c/em> film starring Michael Keaton. His Dark Knight was truly dark, and somber, and goth — and also, with respect to to Michelle Pfeiffer’s Catwoman — kinda kinky.\u003c/p>\n\u003ch3>1990s: Camp Strikes Back\u003c/h3>\n\u003cp>https://youtu.be/suOgRZflPtk\u003c/p>\n\u003cp>When director Joel Schumacher took over the series, he attempted to pull Batman back into the light, although the light in question was neon pink. In homage to the 1960s series, he upped the campy archness, restored Robin to the mix and — in a move that has enshrined him in nerd infamy — slapped some nipples on the sculpted musculature of the Bat-suit.\u003c/p>\n\u003cp>The reaction of the hardcore Bat-nerds was swift and savage. They took to the nascent internet to demand that future films treat the character as seriously (read: as grimly and grittily) as the comics had been doing for years.\u003c/p>\n\u003cp>After a brief fallow period, they got their wish.\u003c/p>\n\u003ch3>2000s: Batman, Bedimmed\u003c/h3>\n\u003cp>https://youtu.be/bkU7Cl2SSvI\u003c/p>\n\u003cp>Director Christopher Nolan’s Bat-trilogy, beginning with \u003cem>Batman Begins\u003c/em>, seemed like a mission statement for the complete refutation of Schumacher’s Batman — and by extension, of the ’60s series as well. By leaning into a rugged, gunmetal-gray vision that prized somber practicality over anything that smacked of stylization or — God forbid — flair, Nolan gave the hardcore fans the Batman they loved in the grim-and-gritty comics. This was a Batman who would be taken seriously (read: who was very, very serious). The fans proved fiercely protective: Several critics who dared to suggest that the somberness of Nolan’s \u003cem>The Dark Knight Rises,\u003c/em> in particular\u003cem>, \u003c/em>smacked of bloated pretension were greeted with death threats.\u003c/p>\n\u003ch3>2017: LEGO My Ego\u003c/h3>\n\u003cp>https://youtu.be/rGQUKzSDhrg\u003c/p>\n\u003cp>And so we come to \u003cem>The LEGO Batman Movie\u003c/em>, which is just the latest attempt to bring the broody Batman out of his cave, into the light and sun of the upper world.\u003c/p>\n\u003cp>But this attempt is fundamentally different.\u003c/p>\n\u003cp>The creators of the 1966 TV series brought condescension to Batman. Tim Burton brought a determination to remake the character in his own, emo- outsider image. Schumacher brought camp and areolae. Nolan brought a grayscale dourness.\u003c/p>\n\u003cp>Every one of them came at the character from the outside, and imposed their vision on top of him.\u003c/p>\n\u003cp>The screenwriters and director of \u003cem>The LEGO Batman Movie\u003c/em>, on the other hand, come at him with 1. a very specific comedic sensibility and 2. a deep, deep, \u003cem>deep\u003c/em> knowledge of the character’s history that, it turns out, is indistinguishable from love.\u003c/p>\n\u003cp>Their Batman is something else, as well — something important: a complete tool.\u003c/p>\n\u003cp>He’s a jerk who takes himself far too seriously, a brooding loner who insists, at every opportunity, upon his own consummate awesomeness.\u003c/p>\n\u003cp>This is not merely a characterization — a “way in” to the character they’d teach in screenwriting classes.\u003c/p>\n\u003cp>It is a pointed critique of the dour, sulky, militantly humorless Batman that has existed in the public consciousness for nearly 40 years. It is also, more to the point, a slap in the face of the hardcore fanboy culture around him, a culture that insists only one “true” version of the character exists, and stubbornly clings to the conviction that they “own” Batman.\u003c/p>\n\u003cp>Which is to say: It’s a reminder — a not particularly gentle one — that this stuff was always supposed to be \u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>Consider this, as well: The plot of this movie involves Batman learning that being a dark, disaffected, brooding loner isn’t enough. He needs to make human connections, needs to let other people in.\u003c/p>\n\u003cp>In a very real sense, it’s about Batman transitioning from an arrested adolescence as a sulky goth, brooding alone in his room, into an adulthood that requires him to join society.\u003c/p>\n\u003cp>Which is probably why, despite the movie’s deep, abiding and aggressive silliness, \u003cem>The LEGO Batman Movie\u003c/em> stands as the most \u003cem>emotionally mature\u003c/em> Batman film yet made.\u003c/p>\n\u003cp>It’s also one that might — that just might — manage to end the eternal cycle of light/dark Batman, once and for all.\u003c/p>\n\u003cp>Because no matter how savagely it lampoons the Dark Knight as an egotistical jerk, it so clearly comes from a place of deep knowledge that even the hardest-core fanboy will have no choice but to respect it.\u003c/p>\n\u003cp>Nolan, Burton, Schumacher, even the creators of the 1960s Batman TV series were outsiders looking in; the team behind \u003cem>LEGO Batman\u003c/em> are not. And that matters, because of a very simple, abiding truth first recorded, I believe, by Pliny the Elder, namely:\u003c/p>\n\u003cp>Game recognize game.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In other words: I strongly doubt that any self-respecting Bat-fan will be able to gin up much in the way of frothing nerdrage over a film that includes \u003ca href=\"http://batman.wikia.com/wiki/Zebra-Man\">\u003cem>a frickin’ Zebra-Man cameo\u003c/em>.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"excerpt": "In 'The LEGO Batman Movie,' the Dark Knight... lightens up. NPR critic Glen Weldon says it's only the latest example of the character cycling through phases of darkness and light.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunrise, sunset: light into darkness, darkness into light.\u003c/p>\n\u003cp>This perpetual cycling through archetypal phases of yin and yang, light slapstick and dour melodrama, is what lends Batman his unique mutability. His fellow heroes are a more stolid lot. They tend to pick a lane and stick with it.\u003c/p>\n\u003cp>Not Batman. Dude’s ephemeral. A veritable will o’ the wisp, that guy.\u003c/p>\n\u003cp>For 78 years we nerds, devout students of his endless adventures, have witnessed him phasing through this dark/light cycle on the comics page. But when it comes to shaping the idea of Batman — how he exists in the public consciousness — it’s TV and movies that matter.\u003c/p>\n\u003cp>And it’s possible to see that same cycle at work there, too, if you know where and how to look for it. Every turn of the cycle occurs for a reason, as a reaction to the phase that came before.\u003c/p>\n\u003ch3>1966: Camp Crusader\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mjKyGs-G6Sg'\n title='//www.youtube.com/embed/mjKyGs-G6Sg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ’60s Batman television series starring Adam West brought the Caped Crusader before the eyes of the wider world in a huge way. A huge, goofy way.\u003c/p>\n\u003cp>The network and studio executives behind the series didn’t create the show out of any particular love for the character. In fact, they considered Batman — and superheroes, and comics themselves — to be disposable junk culture. They approached the creation of the series from the outside: producer Bill Dozier read a few Batman comics, and decided to reproduce them exactly — but with a tone that treated them like serious drama, like Ibsen’s \u003cem>A Doll’s House\u003c/em> in tights.\u003c/p>\n\u003cp>They made him a square, a cop in a cape, a bat-eared representation of the Establishment. He drank milk, lectured Robin about pedestrian safety, and would never think of double-parking the Batmobile. That tone, and the campy silliness it engendered, made the show a sensation, albeit a short-lived one.\u003c/p>\n\u003cp>Everything about the show’s approach angered Batman’s hardcore fans, however, and their resentment would live on long after the series went off the air. It was so strong, in fact, that it threw a long shadow from which Batman is only now beginning to emerge.\u003c/p>\n\u003ch3>1989: Bat-Goth\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G13ZHx36l8M'\n title='//www.youtube.com/embed/G13ZHx36l8M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Throughout the ’70s and ’80s the Batman of the comics existed as a spirited refutation of everything the ’60 TV series had stood for. This new Batman was a brooding loner (Robin had shipped off to college) who haunted the urban night.\u003c/p>\n\u003cp>It was this Batman that director Tim Burton picked up on, in creating the 1989 \u003cem>Batman\u003c/em> film starring Michael Keaton. His Dark Knight was truly dark, and somber, and goth — and also, with respect to to Michelle Pfeiffer’s Catwoman — kinda kinky.\u003c/p>\n\u003ch3>1990s: Camp Strikes Back\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/suOgRZflPtk'\n title='//www.youtube.com/embed/suOgRZflPtk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When director Joel Schumacher took over the series, he attempted to pull Batman back into the light, although the light in question was neon pink. In homage to the 1960s series, he upped the campy archness, restored Robin to the mix and — in a move that has enshrined him in nerd infamy — slapped some nipples on the sculpted musculature of the Bat-suit.\u003c/p>\n\u003cp>The reaction of the hardcore Bat-nerds was swift and savage. They took to the nascent internet to demand that future films treat the character as seriously (read: as grimly and grittily) as the comics had been doing for years.\u003c/p>\n\u003cp>After a brief fallow period, they got their wish.\u003c/p>\n\u003ch3>2000s: Batman, Bedimmed\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bkU7Cl2SSvI'\n title='//www.youtube.com/embed/bkU7Cl2SSvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Christopher Nolan’s Bat-trilogy, beginning with \u003cem>Batman Begins\u003c/em>, seemed like a mission statement for the complete refutation of Schumacher’s Batman — and by extension, of the ’60s series as well. By leaning into a rugged, gunmetal-gray vision that prized somber practicality over anything that smacked of stylization or — God forbid — flair, Nolan gave the hardcore fans the Batman they loved in the grim-and-gritty comics. This was a Batman who would be taken seriously (read: who was very, very serious). The fans proved fiercely protective: Several critics who dared to suggest that the somberness of Nolan’s \u003cem>The Dark Knight Rises,\u003c/em> in particular\u003cem>, \u003c/em>smacked of bloated pretension were greeted with death threats.\u003c/p>\n\u003ch3>2017: LEGO My Ego\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rGQUKzSDhrg'\n title='//www.youtube.com/embed/rGQUKzSDhrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And so we come to \u003cem>The LEGO Batman Movie\u003c/em>, which is just the latest attempt to bring the broody Batman out of his cave, into the light and sun of the upper world.\u003c/p>\n\u003cp>But this attempt is fundamentally different.\u003c/p>\n\u003cp>The creators of the 1966 TV series brought condescension to Batman. Tim Burton brought a determination to remake the character in his own, emo- outsider image. Schumacher brought camp and areolae. Nolan brought a grayscale dourness.\u003c/p>\n\u003cp>Every one of them came at the character from the outside, and imposed their vision on top of him.\u003c/p>\n\u003cp>The screenwriters and director of \u003cem>The LEGO Batman Movie\u003c/em>, on the other hand, come at him with 1. a very specific comedic sensibility and 2. a deep, deep, \u003cem>deep\u003c/em> knowledge of the character’s history that, it turns out, is indistinguishable from love.\u003c/p>\n\u003cp>Their Batman is something else, as well — something important: a complete tool.\u003c/p>\n\u003cp>He’s a jerk who takes himself far too seriously, a brooding loner who insists, at every opportunity, upon his own consummate awesomeness.\u003c/p>\n\u003cp>This is not merely a characterization — a “way in” to the character they’d teach in screenwriting classes.\u003c/p>\n\u003cp>It is a pointed critique of the dour, sulky, militantly humorless Batman that has existed in the public consciousness for nearly 40 years. It is also, more to the point, a slap in the face of the hardcore fanboy culture around him, a culture that insists only one “true” version of the character exists, and stubbornly clings to the conviction that they “own” Batman.\u003c/p>\n\u003cp>Which is to say: It’s a reminder — a not particularly gentle one — that this stuff was always supposed to be \u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>Consider this, as well: The plot of this movie involves Batman learning that being a dark, disaffected, brooding loner isn’t enough. He needs to make human connections, needs to let other people in.\u003c/p>\n\u003cp>In a very real sense, it’s about Batman transitioning from an arrested adolescence as a sulky goth, brooding alone in his room, into an adulthood that requires him to join society.\u003c/p>\n\u003cp>Which is probably why, despite the movie’s deep, abiding and aggressive silliness, \u003cem>The LEGO Batman Movie\u003c/em> stands as the most \u003cem>emotionally mature\u003c/em> Batman film yet made.\u003c/p>\n\u003cp>It’s also one that might — that just might — manage to end the eternal cycle of light/dark Batman, once and for all.\u003c/p>\n\u003cp>Because no matter how savagely it lampoons the Dark Knight as an egotistical jerk, it so clearly comes from a place of deep knowledge that even the hardest-core fanboy will have no choice but to respect it.\u003c/p>\n\u003cp>Nolan, Burton, Schumacher, even the creators of the 1960s Batman TV series were outsiders looking in; the team behind \u003cem>LEGO Batman\u003c/em> are not. And that matters, because of a very simple, abiding truth first recorded, I believe, by Pliny the Elder, namely:\u003c/p>\n\u003cp>Game recognize game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words: I strongly doubt that any self-respecting Bat-fan will be able to gin up much in the way of frothing nerdrage over a film that includes \u003ca href=\"http://batman.wikia.com/wiki/Zebra-Man\">\u003cem>a frickin’ Zebra-Man cameo\u003c/em>.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Big Tech's Quarterly Reports Say About the Future of Music",
"headTitle": "What Big Tech’s Quarterly Reports Say About the Future of Music | KQED",
"content": "\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The past week brought a slew of high-level financial filings from tech and music companies — from which we read the tea leaves.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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