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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following the introduction of \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\" target=\"_blank\" rel=\"noopener\">two bills into the state Legislature\u003c/a> that would legally prohibit transgender Texans from using bathrooms that align with their gender identities, 142 artists — including Ewan McGregor, Amy Poehler, Lady Gaga, Janelle Monae, Talib Kweli, Wilco and Whoopi Goldberg — have co-signed \u003ca href=\"https://www.txtogether.org/\">a letter beseeching\u003c/a> the state senators and representatives to prevent the bills’ passage.\u003c/p>\n\u003cp>“Transgender and gender non-conforming young people are already subjected to bullying and harassment,” the letter reads. “Can you imagine the message these bills send to children — the message of ‘that child is unwelcome, that child is dangerous?’ ”\u003c/p>\n\u003cp>In \u003ca href=\"http://www.billboard.com/articles/news/politics/7693257/jack-antonoff-texas-anti-lgbtq-bills-interview\">an interview\u003c/a> with \u003cem>Billboard,\u003c/em> producer and musician Jack Antonoff, who helped draft the letter, said that he wants the state “to know that me and all of my friends — all of these wonderful artists and actors and writers and designers — are watching Texas and are not OK with this happening.”\u003c/p>\n\u003cp>Texas Lt. Gov. Dan Patrick has made the legislation a priority. In a note on the initiatives, he wrote that: “Legislation to protect women’s privacy and business is essential to assure that sexual predators … will not be able to freely enter women’s restrooms, locker rooms or showers. … ”\u003c/p>\n\u003cp>Texas House Speaker Joe Straus voiced concern over the bill’s economic impact on the state in \u003ca href=\"http://www.texasmonthly.com/burka-blog/straus-says-bathroom-bill-might-harm-economy/\">an interview with Texas Monthly\u003c/a> in mid-January, saying the state “should be very careful about doing something that would make Texas less competitive for investments, jobs, and the highly skilled workforce needed to compete.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"title": "'Explosive' Image of an Assassination Wins World Press Photo of the Year",
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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)",
"headTitle": "‘The LEGO Batman Movie’ Drags The Caped Crusader Out Of The Shadows (Again) | KQED",
"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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"description": "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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"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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"title": "Cold Beat's Dreamy Synth-Pop Song '62 Moons' Takes Off",
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"content": "\u003cp>Fans and writers always tie singer and songwriter\u003cstrong> \u003c/strong>Hannah Lew’s dormant band to her current one and perhaps rightfully so; Grass Widow set the post-2010s post-punk scene on fire. But over the four years of its existence, San Francisco’s \u003ca href=\"http://www.npr.org/artists/514013187/cold-beat\">Cold Beat\u003c/a> has made simultaneously dynamic and atmospheric post-punk that plays to Lew’s songwriting acumen and surreal lyricism.\u003c/p>\n\u003cp>With the forthcoming \u003cem>Chaos By Invitation\u003c/em>, mostly recorded by Phil Manley (Trans Am) at El Studio, Lew and her band lean into their pop sensibilities more than ever, and bring a load of synths with them. “62 Moons” is the first single, a synth-pop song that swims in crystalline guitars a la Modern English, with a \u003ca href=\"https://en.wikipedia.org/wiki/Brill_Building_(genre)\" target=\"_blank\" rel=\"noopener\">Brill Building\u003c/a> romanticism. In its final minute, a wistful, whistling monosynth lead launches the track from Earth, as Lew exhales her “fade to black.”\u003c/p>\n\u003cp>Turns out space is the place for “62 Moons” — Lew says it’s “a song about love taken for granted, analogous to the 62 moons of Saturn, in constant loving orbit around a beautiful siren planet with many satellites.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=23PgtrBYOi8\u003c/p>\n\u003cp>\u003cem>Chaos By Invitation \u003c/em>comes out April 7 via \u003ca href=\"https://www.midheaven.com/label/crime-on-the-moon\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\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=Cold+Beat%27s+Dreamy+Synth-Pop+Song+%2762+Moons%27+Takes+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans and writers always tie singer and songwriter\u003cstrong> \u003c/strong>Hannah Lew’s dormant band to her current one and perhaps rightfully so; Grass Widow set the post-2010s post-punk scene on fire. But over the four years of its existence, San Francisco’s \u003ca href=\"http://www.npr.org/artists/514013187/cold-beat\">Cold Beat\u003c/a> has made simultaneously dynamic and atmospheric post-punk that plays to Lew’s songwriting acumen and surreal lyricism.\u003c/p>\n\u003cp>With the forthcoming \u003cem>Chaos By Invitation\u003c/em>, mostly recorded by Phil Manley (Trans Am) at El Studio, Lew and her band lean into their pop sensibilities more than ever, and bring a load of synths with them. “62 Moons” is the first single, a synth-pop song that swims in crystalline guitars a la Modern English, with a \u003ca href=\"https://en.wikipedia.org/wiki/Brill_Building_(genre)\" target=\"_blank\" rel=\"noopener\">Brill Building\u003c/a> romanticism. In its final minute, a wistful, whistling monosynth lead launches the track from Earth, as Lew exhales her “fade to black.”\u003c/p>\n\u003cp>Turns out space is the place for “62 Moons” — Lew says it’s “a song about love taken for granted, analogous to the 62 moons of Saturn, in constant loving orbit around a beautiful siren planet with many satellites.”\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/23PgtrBYOi8'\n title='//www.youtube.com/embed/23PgtrBYOi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Chaos By Invitation \u003c/em>comes out April 7 via \u003ca href=\"https://www.midheaven.com/label/crime-on-the-moon\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\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=Cold+Beat%27s+Dreamy+Synth-Pop+Song+%2762+Moons%27+Takes+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The World's Foremost Authority Has Died: Prof. Irwin Corey was 102",
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"content": "\u003cp>Comedian and actor Irwin Corey, for whom the word “however” was the perfect opening line, has died at age 102. With an impish grin and wild hair, Corey was a nightclub and talk-show fixture who worked with stars from Jackie Gleason to Woody Allen. His admirers ranged from Damon Runyon to Lenny Bruce.\u003c/p>\n\u003cp>Corey died Monday evening, his daughter-in-law tells NPR. The comedian had been sick earlier this year — but he’d been sent home from the hospital after seeming to recover. His last meal, she said, consisted of ice cream and egg drop soup.\u003c/p>\n\u003cp>It’s impossible to provide a short explanation of Corey’s surreal brand of comedy, which was most potent when delivered in his seemingly nonsensical stream of non sequiturs. But the breadth of his career hints at his creative genius: Who else could have appeared in the 1976 film \u003cem>Car Wash\u003c/em>, two years after \u003ca href=\"http://www.irwincorey.org/routines.html\" target=\"_blank\" rel=\"noopener\">accepting a National Book Award\u003c/a> on behalf of the reclusive Thomas Pynchon?\u003c/p>\n\u003cp>Billed as “the World’s Foremost Authority,” Corey’s guise as an absent-minded professor offered a way to poke fun at multisyllabic jargon and those who use it. When political or scientific authorities seemed to annex a chunk of language, there was Corey to claw it back — a very human antidote to our complicated modern times.\u003c/p>\n\u003cp>“Sometimes, I forget what I’m talking about in the middle of a word,” Corey \u003ca href=\"http://www.npr.org/2014/08/02/337320806/comedian-irwin-corey-turns-100\" target=\"_blank\" rel=\"noopener\">said at his 100th birthday party\u003c/a>, which was attended by WNYC contributor Jon Kalish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/513879165/513879302\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Corey mixed social commentary into his playful approach to language — as at his birthday party in 2014, when he said, “Ten years ago, we had Johnny Cash. We had Bob Hope and Steve Jobs. Today, 10 years later, there’s no cash. There’s no hope. There’s no jobs.”\u003c/p>\n\u003cp>Here’s how legendary theater critic Kenneth Tynan \u003ca href=\"http://www.irwincorey.org/bio.html\">once described\u003c/a> Corey: “a cultural clown, a parody of literacy, a travesty of all that our civilization holds dear and one of the funniest grotesques in America. He is Chaplin’s clown with a college education.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MxtN0xxzfsw\u003c/p>\n\u003cp>Born in Brooklyn, N.Y., in 1914, Corey and his brothers and sisters grew up in the Brooklyn Hebrew Orphan Asylum. After extreme poverty forced their mother to put her children in the home, \u003ca href=\"http://forward.com/news/203731/professor-irwin-corey-worlds-foremost-authority-go/\">she paid a monthly fee\u003c/a> to help provide for them.\u003c/p>\n\u003cp>Corey’s left-wing beliefs led to him being blacklisted in the 1950s. Decades later, he was found to be panhandling in a Manhattan street. He told \u003ca href=\"https://www.nytimes.com/video/nyregion/100000001099057/hes-97-and-famous-spare-some-change.html?src=vidm\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> that he donated all the money he collected to charity — often, to a cause that benefits children in Cuba.\u003c/p>\n\u003cp>As Corey explained, he was asking for change around the corner from his home, navigating East 35th Street with his walker, handing out free newspapers and, over the years, collecting tens of thousands of dollars.\u003c/p>\n\u003cp>When a reporter asked him why he hustled for change, he seemed confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why?” Corey repeated — and after a pause, he said, “I want to help people out.” \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+World%27s+Foremost+Authority+Has+Died%3A+Prof.+Irwin+Corey+Was+102&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and actor Irwin Corey, for whom the word “however” was the perfect opening line, has died at age 102. With an impish grin and wild hair, Corey was a nightclub and talk-show fixture who worked with stars from Jackie Gleason to Woody Allen. His admirers ranged from Damon Runyon to Lenny Bruce.\u003c/p>\n\u003cp>Corey died Monday evening, his daughter-in-law tells NPR. The comedian had been sick earlier this year — but he’d been sent home from the hospital after seeming to recover. His last meal, she said, consisted of ice cream and egg drop soup.\u003c/p>\n\u003cp>It’s impossible to provide a short explanation of Corey’s surreal brand of comedy, which was most potent when delivered in his seemingly nonsensical stream of non sequiturs. But the breadth of his career hints at his creative genius: Who else could have appeared in the 1976 film \u003cem>Car Wash\u003c/em>, two years after \u003ca href=\"http://www.irwincorey.org/routines.html\" target=\"_blank\" rel=\"noopener\">accepting a National Book Award\u003c/a> on behalf of the reclusive Thomas Pynchon?\u003c/p>\n\u003cp>Billed as “the World’s Foremost Authority,” Corey’s guise as an absent-minded professor offered a way to poke fun at multisyllabic jargon and those who use it. When political or scientific authorities seemed to annex a chunk of language, there was Corey to claw it back — a very human antidote to our complicated modern times.\u003c/p>\n\u003cp>“Sometimes, I forget what I’m talking about in the middle of a word,” Corey \u003ca href=\"http://www.npr.org/2014/08/02/337320806/comedian-irwin-corey-turns-100\" target=\"_blank\" rel=\"noopener\">said at his 100th birthday party\u003c/a>, which was attended by WNYC contributor Jon Kalish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/513879165/513879302\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Corey mixed social commentary into his playful approach to language — as at his birthday party in 2014, when he said, “Ten years ago, we had Johnny Cash. We had Bob Hope and Steve Jobs. Today, 10 years later, there’s no cash. There’s no hope. There’s no jobs.”\u003c/p>\n\u003cp>Here’s how legendary theater critic Kenneth Tynan \u003ca href=\"http://www.irwincorey.org/bio.html\">once described\u003c/a> Corey: “a cultural clown, a parody of literacy, a travesty of all that our civilization holds dear and one of the funniest grotesques in America. He is Chaplin’s clown with a college education.”\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/MxtN0xxzfsw'\n title='//www.youtube.com/embed/MxtN0xxzfsw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in Brooklyn, N.Y., in 1914, Corey and his brothers and sisters grew up in the Brooklyn Hebrew Orphan Asylum. After extreme poverty forced their mother to put her children in the home, \u003ca href=\"http://forward.com/news/203731/professor-irwin-corey-worlds-foremost-authority-go/\">she paid a monthly fee\u003c/a> to help provide for them.\u003c/p>\n\u003cp>Corey’s left-wing beliefs led to him being blacklisted in the 1950s. Decades later, he was found to be panhandling in a Manhattan street. He told \u003ca href=\"https://www.nytimes.com/video/nyregion/100000001099057/hes-97-and-famous-spare-some-change.html?src=vidm\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> that he donated all the money he collected to charity — often, to a cause that benefits children in Cuba.\u003c/p>\n\u003cp>As Corey explained, he was asking for change around the corner from his home, navigating East 35th Street with his walker, handing out free newspapers and, over the years, collecting tens of thousands of dollars.\u003c/p>\n\u003cp>When a reporter asked him why he hustled for change, he seemed confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why?” Corey repeated — and after a pause, he said, “I want to help people out.” \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+World%27s+Foremost+Authority+Has+Died%3A+Prof.+Irwin+Corey+Was+102&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "James Baldwin, In His Own Searing, Revelatory Words: 'I Am Not Your Negro'",
"headTitle": "James Baldwin, In His Own Searing, Revelatory Words: ‘I Am Not Your Negro’ | KQED",
"content": "\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\u003c/p>\n\u003cp>https://youtu.be/rNUYdgIyaPM\u003c/p>\n\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\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/rNUYdgIyaPM'\n title='//www.youtube.com/embed/rNUYdgIyaPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \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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"content": "\u003cp>In Iranian writer-director Asghar Farhadi’s impeccable \u003cem>A Separation\u003c/em>, emotional devastation results from minor misunderstandings, caused largely by class divides and religious differences. The subtle contrivances of that 2011 film became more overt in its follow-up, \u003cem>The Past\u003c/em>. Now Farhadi has made a drama that billboards its theatricality, opening on the vacant set for a Tehran production of \u003cem>Death of a Salesman\u003c/em>. The parallels with that Arthur Miller play that arise over the course of the film are one reason Farhadi titled it \u003cem>The Salesman\u003c/em>.\u003c/p>\n\u003cp>Rehearsing to play Willie and Linda Loman are another married couple, Emad and Rana (Shahab Hosseini and Taraneh Alidoosti, both exemplary). Emad teaches literature and film to high school boys, which allows Farhadi to include a bit of \u003cem>The Cow\u003c/em>, the 1969 movie considered the first of the Iranian new wave.\u003c/p>\n\u003cp>As the play’s premiere looms, a certain amount of backstage uproar is to be expected. Censors may trim some of Miller’s text, and an actress complains about having to be fully covered while playing a scene in which her character says she’s half-dressed. But such disorder is insignificant compared to the chaos that rattles the lead actors’ offstage life.\u003c/p>\n\u003cp>https://youtu.be/WlKN5PBVLN8\u003c/p>\n\u003cp>Emad and Rana must suddenly flee their apartment after construction on a neighboring site threatens to collapse the building. Walls crack and windows break in a visceral scene that’s also a metaphor for an upcoming disruption of domestic tranquility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A theater colleague finds the actors a replacement flat, but with it comes a different sort of discord. One room is full of the previous tenant’s belongings, which she can’t remove until she rents a new place. That’s difficult, for the same reason she was forced from her old one: She’s “a woman with a lot of acquaintances.”\u003c/p>\n\u003cp>Not all her clients know she’s moved. One regular arrives and while heading to the shower Rana buzzes him in, thinking it’s her husband. What happens next occurs off-camera, but is not insignificant. Rana ends up unconscious, her head bloodied. (From an Iranian filmmaker’s perspective, this is a boon: Rana’s bandage takes the place of the headscarf that film censors require, but that an Iranian woman wouldn’t necessarily wear at home.)\u003c/p>\n\u003cp>Since the incident could be interpreted as related to sex, Rana doesn’t want to inform the police. Emad understands, but feels compelled to avenge his wife and assuage his pride. (Perhaps playing an American onstage has made the actor see himself as something of a cowboy.) In his haste to escape, the interloper left behind some personal items. Emad finds the clues, and his career as an amateur detective is underway.\u003c/p>\n\u003cp>As in \u003cem>A Separation\u003c/em>, a central motif is miscommunication. Mobile phones and an answering machine play roles, and Rana’s innocent response to an apparently benign (if illicit) visitor snowballs into catastrophe. The apartment’s former tenant, never seen or heard, is not presented as a monster. Neither, ultimately, is the shadowy man Emad pursues.\u003c/p>\n\u003cp>These nuanced characterizations are worthy of the director of \u003cem>A Separation\u003c/em>, which painstakingly demonstrated that everyone has his or her reasons. Although \u003cem>The Salesman\u003c/em>‘s plot is unbelievable, most of the movie occurs in a recognizably genuine world: dirty and battered, but bedeviled by compromise and self-interest, not pure evil. The links between Miller’s Pulitzer-winning melodramatics and Farhadi’s more naturalistic style are not overdone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until the last act, that is. \u003cem>The Salesman\u003c/em> would be a much better movie if it ended a few minutes sooner. Instead, grudging reconciliation yields to sort of retribution, brutal if inadvertent. The curtain falls on everyday life, and the author’s hand becomes manifest. \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=%27The+Salesman%27%3A+A+Violent+Act+Tests+A+Marriage%2C+And+One+Actor%27s+Humanity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"headTitle": "‘Breaking News’ Artists use Mass Media as their Medium | KQED",
"content": "\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \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=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \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=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Set on an apparently tropical island, \u003cem>The Red Turtle\u003c/em> (La tortue rouge) exalts the cycle of life and celebrates the beauty of nature. Yet this dialogue-free animated fable could hardly be more anthropocentric.\u003c/p>\n\u003cp>The man around whom the film revolves is introduced literally at sea, battling to survive the stormy waves of a slate-colored ocean. The sketchily drawn, button-eyed survivor soon washes up on a remote isle. It’s inhabited mostly by insects and crustaceans — the sand crabs provide low-key comic relief — although sometimes a larger creature comes ashore.\u003c/p>\n\u003cp>https://youtu.be/4lwrzNqEUOM\u003c/p>\n\u003cp>Water and food are available, and shelter is not an issue, since the climate is warm. Nonetheless, the castaway endeavors to leave, building a succession of rafts that are quickly destroyed by an unseen force. Eventually, the man encounters the creature that’s preventing his escape. It’s a gigantic red turtle.\u003c/p>\n\u003cp>Soon after, somehow, a woman appears. The pretty redhead’s arrival reconciles the exile to remaining on the island, and the couple raises a son. The trio’s existence is the human family in microcosm, without any pesky siblings or in-laws. It could be said, though, that the sea turtles that offer assistance during emergencies are cousins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>London-based Dutch animator Michael Dudok de Wit spent a decade making \u003cem>The Red Turtle\u003c/em>, which is hand-drawn (mostly on electronic tablets, not paper ones). It’s the first feature from a filmmaker who won an Oscar 17 years ago for \u003cem>Father and Daughter\u003c/em>, a short that was also without words.\u003c/p>\n\u003cp>Dudok de Wit was recruited and mentored by Isao Takahata, of Japan’s Studio Ghibli, which is best known for such tales of nature and transformation as \u003cem>Spirited Away\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. The Franco-Japanese collaboration’s supervising animator is Jean-Christophe Lie, who worked on T\u003cem>he Triplets of Belleville\u003c/em>.\u003c/p>\n\u003cp>The Japanese influence is apparent in both the movie’s look and its story. The script, by Dudok de Wit and \u003cem>Bird People\u003c/em> writer-director Pascale Ferran, features a bamboo forest and a catastrophic tsunami. The latter is one of several sequences that’s suspenseful enough for a big-budget action movie. (Alas, Laurent Perez del Mar’s drippy score also gives off a major-studio vibe.)\u003c/p>\n\u003cp>For a wordless South Seas idyll, the movie is quite eventful. Panicky moments and angry outbursts contrast the leisurely pace of island life and the artfully rendered sea and sky. The animators don’t overplay the loveliness, preferring subdued colors punctuated by the occasional vivid blue. Red rarely appears, and the many dream sequences are as gray as the night from which they emerge.\u003c/p>\n\u003cp>Unless, of course, the entire movie is a dream. After all, things occur here that would be impossible in a non-animated cosmos. But if \u003cem>The Red Turtle\u003c/em> is a fantasy, it’s not one in which man achieves concord with nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, after initially frustrating the castaway, the sea, the island, and their creatures accommodate themselves to him. Although viewers barely get to know the man, they can clearly see he’s the center of this hand-drawn universe. That seems a curious outlook for movie that’s being released just as climate scientists report that 2016 was the third year in a row to be the hottest ever recorded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>London-based Dutch animator Michael Dudok de Wit spent a decade making \u003cem>The Red Turtle\u003c/em>, which is hand-drawn (mostly on electronic tablets, not paper ones). It’s the first feature from a filmmaker who won an Oscar 17 years ago for \u003cem>Father and Daughter\u003c/em>, a short that was also without words.\u003c/p>\n\u003cp>Dudok de Wit was recruited and mentored by Isao Takahata, of Japan’s Studio Ghibli, which is best known for such tales of nature and transformation as \u003cem>Spirited Away\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. The Franco-Japanese collaboration’s supervising animator is Jean-Christophe Lie, who worked on T\u003cem>he Triplets of Belleville\u003c/em>.\u003c/p>\n\u003cp>The Japanese influence is apparent in both the movie’s look and its story. The script, by Dudok de Wit and \u003cem>Bird People\u003c/em> writer-director Pascale Ferran, features a bamboo forest and a catastrophic tsunami. The latter is one of several sequences that’s suspenseful enough for a big-budget action movie. (Alas, Laurent Perez del Mar’s drippy score also gives off a major-studio vibe.)\u003c/p>\n\u003cp>For a wordless South Seas idyll, the movie is quite eventful. Panicky moments and angry outbursts contrast the leisurely pace of island life and the artfully rendered sea and sky. The animators don’t overplay the loveliness, preferring subdued colors punctuated by the occasional vivid blue. Red rarely appears, and the many dream sequences are as gray as the night from which they emerge.\u003c/p>\n\u003cp>Unless, of course, the entire movie is a dream. After all, things occur here that would be impossible in a non-animated cosmos. But if \u003cem>The Red Turtle\u003c/em> is a fantasy, it’s not one in which man achieves concord with nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, after initially frustrating the castaway, the sea, the island, and their creatures accommodate themselves to him. Although viewers barely get to know the man, they can clearly see he’s the center of this hand-drawn universe. That seems a curious outlook for movie that’s being released just as climate scientists report that 2016 was the third year in a row to be the hottest ever recorded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I was a kid, Mom used to say, “You know you’ve become an infidel when you forget the \u003cem>Fatihah.\u003c/em>” The \u003cem>Fatihah\u003c/em> is the preamble to the Quran, a prayer Muslims repeat five times a day.\u003c/p>\n\u003cp>Mom used to warn me to be grateful for the practice. That on the Day of Judgment, Allah would call upon me to recite the \u003cem>Fatihah\u003c/em> and I would realize that I had forgotten the words and know what it means to be a lost soul.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>While other kids went to soccer practice on the weekends, I went to a religious Farsi school, where prayer was homework and I heard the \u003cem>Fatihah\u003c/em> all the time. They would check to see that I was praying correctly, and that I was emphasizing the right “qh” and “ha” sounds, and performing the correct poses and postures.\u003c/p>\n\u003cp>Dad paid particularly close attention to my religious education. “Don’t say ‘God,’ ” he would order, if I was being flip. “When people say ‘God’ they’re thinking of a man god, and that’s as bad as idolatry. We shouldn’t turn people into gods. Say, ‘Allah!’ Allah is the everything in the universe!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But a girl can block out only so much cultural influence. Even my Quran used the pronoun “He” when it translated the Arabic words into English. And, when I imagined Allah, he always took the form of my dad, usually in the clouds, or he looked like some version of Santa.\u003c/p>\n\u003cfigure id=\"attachment_12644942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg\" alt=\"Zahra Noorbakhsh will be touring her comedy special, On Behalf of All Muslims, in the spring of 2017. She is the co-host of the podcast 'Good Muslim, Bad Muslim.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12644942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbakhsh will be touring her comedy special, \u003cem>On Behalf of All Muslims,\u003c/em> in the spring of 2017. She is the co-host of the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Les Talusan/tk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, at 12 years old, my preteen impatience hit. Prayer was homework that I had to do five times a day?! I wanted to go out and play. I used to love sitting down to lessons with Dad, but now I couldn’t wait for him to stop talking so I could turn the TV back on.\u003c/p>\n\u003cp>Dad would scold me about rushing through homework, and when that was done he’d scold me for rushing through prayers. In silent protest, I’d sit on my prayer rug and daydream, trying to think of anything but Dad in my head telling me that everything I was doing wasn’t good enough.\u003c/p>\n\u003cp>When Dad realized I was lying about finishing my prayers, I braced myself for a stern lecture. Instead, he told me, “that is between you and Allah.”\u003c/p>\n\u003cp>When I was in college, Dad saw me in a YouTube clip joking about being a pork-eating kind of Muslim; he grimaced and said, “Never put your leftovers in my fridge.”\u003c/p>\n\u003cp>Despite other people’s perceptions of what should or should not be in contradiction with my Muslim identity, I never experienced that discord within myself. But I do get a little sad when anyone asks me if I pray. Truthfully, I just never saw the point of it. I couldn’t connect with the scripture and its archaic English translations. It wasn’t until recently, when I found myself in a mindfulness training class, that I sat for what felt like … prayer.\u003c/p>\n\u003cp>I took the class with a couple of friends, hoping that it would help me manage stress and improve my communication with co-workers. My friends and I carpooled there every Sunday night and learned about mantras, those mental scripts that can be used to protect your brain from itself. Words to recite in the times we feel impatient, to slow life down and remind ourselves that we don’t have control of everything.\u003c/p>\n\u003cfigure id=\"attachment_12294912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg\" alt='Comedian Zahra Noorbakhsh, who says \"Comedy is truth and pain. And there’s a lot of pain in politics this year.\"' width=\"800\" height=\"458\" class=\"size-medium wp-image-12294912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743.jpg 1761w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbakhsh, who says “Comedy is truth and pain. And there’s a lot of pain in politics this year.” \u003ccite>(Photo: Courtesy of Zahra Noorbaksh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The practice helped. I left every class feeling calmer and more resolute. But at the same time, I found myself annoyed. The teacher kept telling us how wonderfully secular the program was, but I kept thinking about what it really meant: it had taken a religion — Buddhism — stripped it of its complex cultural ties and painful political history, appropriated it, commodified it and put it on T-shirts, mugs and calendars, served back to us in easy “secular” doses.\u003c/p>\n\u003cp>And then the election happened.\u003c/p>\n\u003cp>When people asked me if I thought the Trump administration would keep its promises to register Muslims, I could feel my rib cage constrict with worry, and without thinking I reached for the \u003cem>Fatihah.\u003c/em> The words of comfort Dad taught me as a kid, and I couldn’t find them and I remembered Mom’s warning. I felt what it was like to be a lost soul.\u003c/p>\n\u003cp>I don’t believe in hell. I don’t believe in being condemned. I don’t see myself as an infidel, but I do see myself as unmoored. I have this feeling of not being connected to my bones.\u003c/p>\n\u003cp>When I needed it most, I reached for the words of the faith that I was raised with: that the universe is unified by a force of compassion. And I looked everywhere in the attic of my mind to find those words. Looking further and further back into memories of practicing prayer with my father before my preteen cool set in, and before years of being the “pork-eating, alcohol-drinking,” kind of Muslim had left me untethered. I closed my eyes, desperate to remember those words of comfort, and they weren’t there.\u003c/p>\n\u003cp>When I heard that Donald Trump was our next president, it was the first time in my life that I understood what prayer was for.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is what I told my father. Then I asked him to teach me how to pray, again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Trump%27s+Election%2C+A+Nonpracticing+Muslim+Returns+To+Prayer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a kid, Mom used to say, “You know you’ve become an infidel when you forget the \u003cem>Fatihah.\u003c/em>” The \u003cem>Fatihah\u003c/em> is the preamble to the Quran, a prayer Muslims repeat five times a day.\u003c/p>\n\u003cp>Mom used to warn me to be grateful for the practice. That on the Day of Judgment, Allah would call upon me to recite the \u003cem>Fatihah\u003c/em> and I would realize that I had forgotten the words and know what it means to be a lost soul.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>While other kids went to soccer practice on the weekends, I went to a religious Farsi school, where prayer was homework and I heard the \u003cem>Fatihah\u003c/em> all the time. They would check to see that I was praying correctly, and that I was emphasizing the right “qh” and “ha” sounds, and performing the correct poses and postures.\u003c/p>\n\u003cp>Dad paid particularly close attention to my religious education. “Don’t say ‘God,’ ” he would order, if I was being flip. “When people say ‘God’ they’re thinking of a man god, and that’s as bad as idolatry. We shouldn’t turn people into gods. Say, ‘Allah!’ Allah is the everything in the universe!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But a girl can block out only so much cultural influence. Even my Quran used the pronoun “He” when it translated the Arabic words into English. And, when I imagined Allah, he always took the form of my dad, usually in the clouds, or he looked like some version of Santa.\u003c/p>\n\u003cfigure id=\"attachment_12644942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg\" alt=\"Zahra Noorbakhsh will be touring her comedy special, On Behalf of All Muslims, in the spring of 2017. She is the co-host of the podcast 'Good Muslim, Bad Muslim.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12644942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbakhsh will be touring her comedy special, \u003cem>On Behalf of All Muslims,\u003c/em> in the spring of 2017. She is the co-host of the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Les Talusan/tk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, at 12 years old, my preteen impatience hit. Prayer was homework that I had to do five times a day?! I wanted to go out and play. I used to love sitting down to lessons with Dad, but now I couldn’t wait for him to stop talking so I could turn the TV back on.\u003c/p>\n\u003cp>Dad would scold me about rushing through homework, and when that was done he’d scold me for rushing through prayers. In silent protest, I’d sit on my prayer rug and daydream, trying to think of anything but Dad in my head telling me that everything I was doing wasn’t good enough.\u003c/p>\n\u003cp>When Dad realized I was lying about finishing my prayers, I braced myself for a stern lecture. Instead, he told me, “that is between you and Allah.”\u003c/p>\n\u003cp>When I was in college, Dad saw me in a YouTube clip joking about being a pork-eating kind of Muslim; he grimaced and said, “Never put your leftovers in my fridge.”\u003c/p>\n\u003cp>Despite other people’s perceptions of what should or should not be in contradiction with my Muslim identity, I never experienced that discord within myself. But I do get a little sad when anyone asks me if I pray. Truthfully, I just never saw the point of it. I couldn’t connect with the scripture and its archaic English translations. It wasn’t until recently, when I found myself in a mindfulness training class, that I sat for what felt like … prayer.\u003c/p>\n\u003cp>I took the class with a couple of friends, hoping that it would help me manage stress and improve my communication with co-workers. My friends and I carpooled there every Sunday night and learned about mantras, those mental scripts that can be used to protect your brain from itself. Words to recite in the times we feel impatient, to slow life down and remind ourselves that we don’t have control of everything.\u003c/p>\n\u003cfigure id=\"attachment_12294912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg\" alt='Comedian Zahra Noorbakhsh, who says \"Comedy is truth and pain. And there’s a lot of pain in politics this year.\"' width=\"800\" height=\"458\" class=\"size-medium wp-image-12294912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743.jpg 1761w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbakhsh, who says “Comedy is truth and pain. And there’s a lot of pain in politics this year.” \u003ccite>(Photo: Courtesy of Zahra Noorbaksh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The practice helped. I left every class feeling calmer and more resolute. But at the same time, I found myself annoyed. The teacher kept telling us how wonderfully secular the program was, but I kept thinking about what it really meant: it had taken a religion — Buddhism — stripped it of its complex cultural ties and painful political history, appropriated it, commodified it and put it on T-shirts, mugs and calendars, served back to us in easy “secular” doses.\u003c/p>\n\u003cp>And then the election happened.\u003c/p>\n\u003cp>When people asked me if I thought the Trump administration would keep its promises to register Muslims, I could feel my rib cage constrict with worry, and without thinking I reached for the \u003cem>Fatihah.\u003c/em> The words of comfort Dad taught me as a kid, and I couldn’t find them and I remembered Mom’s warning. I felt what it was like to be a lost soul.\u003c/p>\n\u003cp>I don’t believe in hell. I don’t believe in being condemned. I don’t see myself as an infidel, but I do see myself as unmoored. I have this feeling of not being connected to my bones.\u003c/p>\n\u003cp>When I needed it most, I reached for the words of the faith that I was raised with: that the universe is unified by a force of compassion. And I looked everywhere in the attic of my mind to find those words. Looking further and further back into memories of practicing prayer with my father before my preteen cool set in, and before years of being the “pork-eating, alcohol-drinking,” kind of Muslim had left me untethered. I closed my eyes, desperate to remember those words of comfort, and they weren’t there.\u003c/p>\n\u003cp>When I heard that Donald Trump was our next president, it was the first time in my life that I understood what prayer was for.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is what I told my father. Then I asked him to teach me how to pray, again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Trump%27s+Election%2C+A+Nonpracticing+Muslim+Returns+To+Prayer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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