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"content": "\u003cp>José Anzaldo is a bright, cheerful third-grader in Salinas, Calif. He loves school, he’s a whiz at math, and, like lots of little boys his age, he wants to be a firefighter when he grows up. He also entered the country illegally, and his parents are migrant farmworkers who harvest lettuce.\u003c/p>\n\u003cp>What will become of this promising young boy? That question drives \u003ca href=\"http://www.pbs.org/independentlens/films/east-of-salinas/\" target=\"_blank\" rel=\"noopener\">East of Salinas\u003c/a>\u003cem>,\u003c/em> a documentary premiering Monday on PBS’s \u003cem>Independent Lens\u003c/em>. It’s a story we rarely hear about the families who are helping to put vegetables on our dinner plates.\u003c/p>\n\u003cp>“Farmworkers are also parents, and they’re also struggling with all the issues all parents are struggling with, on top of backbreaking labor: worrying about the grades their kids are getting, and are they doing their homework, and unpacking backpacks and all of those things,” says Laura Pacheco, who co-directed and produced the film with another filmmaker, \u003ca href=\"http://www.imdb.com/name/nm1848208/\" target=\"_blank\" rel=\"noopener\">Jackie Mow\u003c/a>.\u003c/p>\n\u003cp>Pacheco and Mow spent three years following José and his family — through seven schools and several moves from one cramped living space to another (sometimes in neighborhoods plagued by gang violence).\u003c/p>\n\u003cp>For half the year, José’s stepfather heads off to toil in the fields of Yuma, Ariz., while José and his mother and two siblings stay in Salinas. The family struggles to maintain these two households — in Salinas and in Yuma — on a single income; José sometimes goes to bed hungry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>East of Salinas\u003c/em> is also a story of hope. There’s José’s teacher, Oscar Ramos, who also grew up working in the lettuce fields, then went on to attend college at the University of California, Berkeley. He and his fellow teachers at Salinas’ Sherwood Elementary School go to extraordinary lengths to give their students a support network: They hold clothing drives, deliver Christmas gifts and conduct seminars for parents on how to help their kids with homework. When José’s family moves outside the school’s area, Ramos volunteers to pick the child up every morning, so he can finish up the year in the same school.\u003c/p>\n\u003cfigure id=\"attachment_11201307\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg\" alt=\"José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming East Of Salinas.</em\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming ‘East Of Salinas.’ \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the kids give back, too, says Ramos. “These kids don’t have much, but they want to give us something [at Christmastime]. So we get lettuce, we get strawberries, we get fruits, and vegetables — fresh from the fields. And I love it. That’s our gift, and I wouldn’t trade that for a Starbucks gift card.”\u003c/p>\n\u003cp>I recently spoke with Mow, Pacheco and Ramos. Highlights from our conversation follow, edited for clarity and brevity.\u003c/p>\n\u003cp>\u003cstrong>José is clearly a bright kid. And despite incredibly hard circumstances — often moving house, exposure to gang violence, food insecurity, predawn drop-offs at the baby sitter so his mother can go work in the lettuce fields — he does very well in school. That’s a lot for a little guy to overcome. Does that make him an exception among the migrant kids you teach, Oscar?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Oscar Ramos:\u003c/strong> It should. But he’s like a lot of our kids. They see what’s going on. They’re very aware of everything, and they don’t want that life. So a lot of them, just like José, they persevere. The do need a lot of help at home, though, because most of our parents have a third-, fourth-, fifth-grade education. So they have to rely on what they get at our school, with a lot of caring teachers. I’m one of many who do the same thing. That’s the school we chose to be at for that particular reason — because we know we can influence these students in a positive way. We can be role models for them because of who we are and where we came from. A lot of the teachers went to Sherwood school as children. Our current principal went to Sherwood school, then came back as a teacher, and now he’s our principal.\u003c/p>\n\u003cp>\u003cstrong>Oscar, most of your students’ parents are migrant farm laborers of Mexican origin who follow the agricultural harvest and take their families with them. How many students do you keep up with after they leave your classroom?\u003c/strong>\u003c/p>\n\u003cp>I keep up with a lot of them. These kids come back after Christmas vacation. They come back for summer school. … They want to come visit their teachers; they want to say hello. Now with Twitter and Facebook and other social media, it’s a lot easier to keep up with students and see what they’re doing. They find us. Just two days ago, I got a friend request on Facebook. The name sounded familiar — he was one of my students in third grade. He’s currently at [the University of California] Berkeley.\u003c/p>\n\u003cp>\u003cstrong>What becomes of most of these students? You mention a student that ended up at Berkeley — that’s impressive. Do you think that’s a result of the efforts that you and your fellow teachers are making, Oscar? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11201308\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg\" alt=\"Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I definitely believe that. Every teacher has a dedicated space in the classroom where they put up banners and photos and postcards of the college they attended. So mine is a UC Berkeley college wall. And we talk about the experience of college and what it’s like. Every teacher has that, and every teacher emphasizes higher education.\u003c/p>\n\u003cp>\u003cstrong>What do you hope viewers take away from this film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jackie Mow:\u003c/strong> For me, making the [film] about one child brings the issue of migrant families and undocumented kids in focus. You hear a lot of political rhetoric. But when you walk into that class of third-graders, they’re so full of hope. What we want people to see is who those people … really are.\u003c/p>\n\u003cp>\u003cstrong>Laura Pacheco:\u003c/strong> We really wanted to break down the stereotypes of undocumented kids, of migrant kids and migrant families. We’ve done a lot of [documentaries] around the world, and I don’t think we’ve ever met anyone who tries as hard, who works as hard as José’s family. The only thing they want is for José and his siblings to have a better life than they had. And you see that in José — he wants to give back — he wants to be part of that school, part of that community. He wants to belong.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> You know, he’s not unique in that class. There are a lot of kids like José.\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> I wasn’t going to do this [film] but my wife convinced me. I told Jackie and Laura I’ll do it but I’m kind of tired — everything [in the media] that has to do with migrant families is so negative. You know, how many end up dropping out, that sort of thing. That’s not who we are, but that’s what they show the public. But there’s something bigger and better and amazing going on [with these kids]. … These kids want to be in school. They want to learn. They want to contribute to society and the community.\u003c/p>\n\u003cp>\u003cstrong>How old is José today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> He’s a seventh-grader; he’s in middle school. So he’s 12.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> We just went back to shoot him — just a little snippet. I think our plan is to [continue to] go back and shoot him until he goes to college. … It’s going to be the \u003cem>Boyhood \u003c/em>of Salinas.\u003c/p>\n\u003cp>\u003cstrong>Does he still want to be a police officer or firefighter?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> No, an engineer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> You know, when we went on that field trip to UC Berkeley, José did meet other people from Salinas, from the same area … that were attending college at the time. To see his eyes go — whoa, more people from Salinas here [at Berkeley]. I think that was very inspirational for him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bright%2C+Young%2C+In+Limbo%3A+Film+Sees+Migrant+Farm+Life+Through+A+Child%27s+Eyes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>East of Salinas\u003c/em> is also a story of hope. There’s José’s teacher, Oscar Ramos, who also grew up working in the lettuce fields, then went on to attend college at the University of California, Berkeley. He and his fellow teachers at Salinas’ Sherwood Elementary School go to extraordinary lengths to give their students a support network: They hold clothing drives, deliver Christmas gifts and conduct seminars for parents on how to help their kids with homework. When José’s family moves outside the school’s area, Ramos volunteers to pick the child up every morning, so he can finish up the year in the same school.\u003c/p>\n\u003cfigure id=\"attachment_11201307\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg\" alt=\"José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming East Of Salinas.</em\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming ‘East Of Salinas.’ \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the kids give back, too, says Ramos. “These kids don’t have much, but they want to give us something [at Christmastime]. So we get lettuce, we get strawberries, we get fruits, and vegetables — fresh from the fields. And I love it. That’s our gift, and I wouldn’t trade that for a Starbucks gift card.”\u003c/p>\n\u003cp>I recently spoke with Mow, Pacheco and Ramos. Highlights from our conversation follow, edited for clarity and brevity.\u003c/p>\n\u003cp>\u003cstrong>José is clearly a bright kid. And despite incredibly hard circumstances — often moving house, exposure to gang violence, food insecurity, predawn drop-offs at the baby sitter so his mother can go work in the lettuce fields — he does very well in school. That’s a lot for a little guy to overcome. Does that make him an exception among the migrant kids you teach, Oscar?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Oscar Ramos:\u003c/strong> It should. But he’s like a lot of our kids. They see what’s going on. They’re very aware of everything, and they don’t want that life. So a lot of them, just like José, they persevere. The do need a lot of help at home, though, because most of our parents have a third-, fourth-, fifth-grade education. So they have to rely on what they get at our school, with a lot of caring teachers. I’m one of many who do the same thing. That’s the school we chose to be at for that particular reason — because we know we can influence these students in a positive way. We can be role models for them because of who we are and where we came from. A lot of the teachers went to Sherwood school as children. Our current principal went to Sherwood school, then came back as a teacher, and now he’s our principal.\u003c/p>\n\u003cp>\u003cstrong>Oscar, most of your students’ parents are migrant farm laborers of Mexican origin who follow the agricultural harvest and take their families with them. How many students do you keep up with after they leave your classroom?\u003c/strong>\u003c/p>\n\u003cp>I keep up with a lot of them. These kids come back after Christmas vacation. They come back for summer school. … They want to come visit their teachers; they want to say hello. Now with Twitter and Facebook and other social media, it’s a lot easier to keep up with students and see what they’re doing. They find us. Just two days ago, I got a friend request on Facebook. The name sounded familiar — he was one of my students in third grade. He’s currently at [the University of California] Berkeley.\u003c/p>\n\u003cp>\u003cstrong>What becomes of most of these students? You mention a student that ended up at Berkeley — that’s impressive. Do you think that’s a result of the efforts that you and your fellow teachers are making, Oscar? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11201308\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg\" alt=\"Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I definitely believe that. Every teacher has a dedicated space in the classroom where they put up banners and photos and postcards of the college they attended. So mine is a UC Berkeley college wall. And we talk about the experience of college and what it’s like. Every teacher has that, and every teacher emphasizes higher education.\u003c/p>\n\u003cp>\u003cstrong>What do you hope viewers take away from this film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jackie Mow:\u003c/strong> For me, making the [film] about one child brings the issue of migrant families and undocumented kids in focus. You hear a lot of political rhetoric. But when you walk into that class of third-graders, they’re so full of hope. What we want people to see is who those people … really are.\u003c/p>\n\u003cp>\u003cstrong>Laura Pacheco:\u003c/strong> We really wanted to break down the stereotypes of undocumented kids, of migrant kids and migrant families. We’ve done a lot of [documentaries] around the world, and I don’t think we’ve ever met anyone who tries as hard, who works as hard as José’s family. The only thing they want is for José and his siblings to have a better life than they had. And you see that in José — he wants to give back — he wants to be part of that school, part of that community. He wants to belong.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> You know, he’s not unique in that class. There are a lot of kids like José.\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> I wasn’t going to do this [film] but my wife convinced me. I told Jackie and Laura I’ll do it but I’m kind of tired — everything [in the media] that has to do with migrant families is so negative. You know, how many end up dropping out, that sort of thing. That’s not who we are, but that’s what they show the public. But there’s something bigger and better and amazing going on [with these kids]. … These kids want to be in school. They want to learn. They want to contribute to society and the community.\u003c/p>\n\u003cp>\u003cstrong>How old is José today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> He’s a seventh-grader; he’s in middle school. So he’s 12.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> We just went back to shoot him — just a little snippet. I think our plan is to [continue to] go back and shoot him until he goes to college. … It’s going to be the \u003cem>Boyhood \u003c/em>of Salinas.\u003c/p>\n\u003cp>\u003cstrong>Does he still want to be a police officer or firefighter?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> No, an engineer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> You know, when we went on that field trip to UC Berkeley, José did meet other people from Salinas, from the same area … that were attending college at the time. To see his eyes go — whoa, more people from Salinas here [at Berkeley]. I think that was very inspirational for him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bright%2C+Young%2C+In+Limbo%3A+Film+Sees+Migrant+Farm+Life+Through+A+Child%27s+Eyes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most nights, you can walk into a blues club and find a harmonica player blowing their heart out onstage. The wailing, honking sound associated with Western movies and juke joints is what many harp players have emulated for decades. But in the rarefied world of the harmonica, the earth has lately shifted on its axis — primarily because of one man.\u003c/p>\n\u003cp>Howard Levy is a 64-year-old harmonica virtuoso. When I met him he was sitting in the living room of his bungalow in Evanston, Ill., playing his two favorite instruments in unison: a Steinway grand piano, and a harmonica so small that it nearly disappeared in his big hands.\u003c/p>\n\u003cp>Levy has single-handedly revolutionized the harmonica by thinking of it, essentially, like a pocket piano. He’s mastered a maddeningly difficult technique called “overblowing,” in which he squeezes the air flow over the brass reeds to bend each note, and in that way he creates complete 12-tone scales.\u003c/p>\n\u003cp>“All the places on the instrument where the notes were missing, I discovered if I did that same technique, the notes would pop out, as if by magic,” Levy says says. “And it freaked me out, I have to tell you.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/460860955/461095921\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The instrument was never designed to play like this. The modern harmonica was popularized in 1857 by an extravagantly-whiskered German clockmaker named Matthias Hohner. Hohner made \u003cem>diatonic\u003c/em> harmonicas — tuned to play major and minor chords when you inhale and exhale.\u003c/p>\n\u003cp>If you wanted to play advanced music with chord changes, you had to pick up a \u003cem>chromatic\u003c/em> harmonica: the sophisticated, uptown cousin of the diatonic. It’s bigger and heavier, and with the aid of a spring-loaded slide, it can play all of the sharps and flats.\u003c/p>\n\u003cp>Musicians consider the chromatic “a serious” instrument. Larry Adler played Beethoven on it. Toots Theilemans played John Coltrane on it. But then, along came Howard Levy, playing complex pieces on a four-inch-long instrument. It had never been done before\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Levy still remembers visiting the Hohner factory in Germany to show them what overblowing could do: “I was not met with a tremendous amount of friendship by some of the people who were in charge of manufacturing. They said, ‘Why don’t you just play the chromatic? Why are you doing this?'”\u003c/p>\n\u003cp>Elsewhere in the music world, Levy has found more support. He played his \u003cem>Concerto for Diatonic Harmonica and Orchestra\u003c/em> with the Czech National Symphony. And over the last 40 years, he has taught his technique to hundreds of other harp players around the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fmL4RM7IA7A\u003c/p>\n\u003cp>“He’s beyond influential,” says Adam Gussow, an English professor at the University of Mississippi, accomplished harp player and editor of the website Modern Blues Harmonica. “It’s like an epoch. You know, there’s the before and after Howard, in terms of the diatonic harmonica.”\u003c/p>\n\u003cp>Levy’s reach is such that prestigious American music conservatories nowadays have begun accepting students whose instrument is a pocket harmonica. One of them is Thorleif Davidsson, a 24-year-old harmonica player from Reykjavik, Iceland, who has a full in the brass department at the Berklee College of Music. When he arrived in Boston, he says, everyone was skeptical.\u003c/p>\n\u003cp>“Yeah, I kinda always have to prove myself,” Davidsson says. “The diatonic harmonica doesn’t have the greatest reputation. People always know someone that plays the harmonica, and usually not that good.”\u003c/p>\n\u003cp>On the opposite coast in San Francisco, there’s a 26-year-old Russian harp player named Ilya Portnov who recently graduated from the New England Conservatory. “I was the only harmonica student,” he says, “and some of the teachers were surprised how serious I am about the instrument. That was funny to them.”\u003c/p>\n\u003cp>New Zealand-born harmonica wizard Brendan Power, meanwhile, plays the European festival circuit, and makes specialty harmonicas at his workshop in Canterbury, England, with all sorts of imaginative tunings. Like Howard Levy, he took the humble 10-holer and re-imagined it.\u003c/p>\n\u003cp>“The harmonica — there’s an amazing amount of potential in there if you do get in there and change things around, get different sounds and play different styles with more authenticity,” he says.\u003c/p>\n\u003cp>Adam Gussow says the instrument’s footprint keeps getting bigger. Untethered from the rawboned tradition of American blues and cowboy songs, the harmonica now stands at the center of a world-music explosion: “You know, it’s a time of great ferment. Every day I turn around and I see something else done on the harmonica that I didn’t expect to see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Matthias Hohner would not have believed his ears. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most nights, you can walk into a blues club and find a harmonica player blowing their heart out onstage. The wailing, honking sound associated with Western movies and juke joints is what many harp players have emulated for decades. But in the rarefied world of the harmonica, the earth has lately shifted on its axis — primarily because of one man.\u003c/p>\n\u003cp>Howard Levy is a 64-year-old harmonica virtuoso. When I met him he was sitting in the living room of his bungalow in Evanston, Ill., playing his two favorite instruments in unison: a Steinway grand piano, and a harmonica so small that it nearly disappeared in his big hands.\u003c/p>\n\u003cp>Levy has single-handedly revolutionized the harmonica by thinking of it, essentially, like a pocket piano. He’s mastered a maddeningly difficult technique called “overblowing,” in which he squeezes the air flow over the brass reeds to bend each note, and in that way he creates complete 12-tone scales.\u003c/p>\n\u003cp>“All the places on the instrument where the notes were missing, I discovered if I did that same technique, the notes would pop out, as if by magic,” Levy says says. “And it freaked me out, I have to tell you.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/460860955/461095921\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The instrument was never designed to play like this. The modern harmonica was popularized in 1857 by an extravagantly-whiskered German clockmaker named Matthias Hohner. Hohner made \u003cem>diatonic\u003c/em> harmonicas — tuned to play major and minor chords when you inhale and exhale.\u003c/p>\n\u003cp>If you wanted to play advanced music with chord changes, you had to pick up a \u003cem>chromatic\u003c/em> harmonica: the sophisticated, uptown cousin of the diatonic. It’s bigger and heavier, and with the aid of a spring-loaded slide, it can play all of the sharps and flats.\u003c/p>\n\u003cp>Musicians consider the chromatic “a serious” instrument. Larry Adler played Beethoven on it. Toots Theilemans played John Coltrane on it. But then, along came Howard Levy, playing complex pieces on a four-inch-long instrument. It had never been done before\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Levy still remembers visiting the Hohner factory in Germany to show them what overblowing could do: “I was not met with a tremendous amount of friendship by some of the people who were in charge of manufacturing. They said, ‘Why don’t you just play the chromatic? Why are you doing this?'”\u003c/p>\n\u003cp>Elsewhere in the music world, Levy has found more support. He played his \u003cem>Concerto for Diatonic Harmonica and Orchestra\u003c/em> with the Czech National Symphony. And over the last 40 years, he has taught his technique to hundreds of other harp players around the world.\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/fmL4RM7IA7A'\n title='//www.youtube.com/embed/fmL4RM7IA7A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He’s beyond influential,” says Adam Gussow, an English professor at the University of Mississippi, accomplished harp player and editor of the website Modern Blues Harmonica. “It’s like an epoch. You know, there’s the before and after Howard, in terms of the diatonic harmonica.”\u003c/p>\n\u003cp>Levy’s reach is such that prestigious American music conservatories nowadays have begun accepting students whose instrument is a pocket harmonica. One of them is Thorleif Davidsson, a 24-year-old harmonica player from Reykjavik, Iceland, who has a full in the brass department at the Berklee College of Music. When he arrived in Boston, he says, everyone was skeptical.\u003c/p>\n\u003cp>“Yeah, I kinda always have to prove myself,” Davidsson says. “The diatonic harmonica doesn’t have the greatest reputation. People always know someone that plays the harmonica, and usually not that good.”\u003c/p>\n\u003cp>On the opposite coast in San Francisco, there’s a 26-year-old Russian harp player named Ilya Portnov who recently graduated from the New England Conservatory. “I was the only harmonica student,” he says, “and some of the teachers were surprised how serious I am about the instrument. That was funny to them.”\u003c/p>\n\u003cp>New Zealand-born harmonica wizard Brendan Power, meanwhile, plays the European festival circuit, and makes specialty harmonicas at his workshop in Canterbury, England, with all sorts of imaginative tunings. Like Howard Levy, he took the humble 10-holer and re-imagined it.\u003c/p>\n\u003cp>“The harmonica — there’s an amazing amount of potential in there if you do get in there and change things around, get different sounds and play different styles with more authenticity,” he says.\u003c/p>\n\u003cp>Adam Gussow says the instrument’s footprint keeps getting bigger. Untethered from the rawboned tradition of American blues and cowboy songs, the harmonica now stands at the center of a world-music explosion: “You know, it’s a time of great ferment. Every day I turn around and I see something else done on the harmonica that I didn’t expect to see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Matthias Hohner would not have believed his ears. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.theseams.org/\" target=\"_blank\" rel=\"noopener\">The Seams\u003c/a>, an occasional NPR series on clothing as culture, has been reporting a series about Florida Seminole Indian patchwork and its heritage and use in tribal life. Read the first installment in this series, “\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line\" target=\"_blank\" rel=\"noopener\">Osceola At The Fifty Yard Line.\u003c/a>“\u003c/em>\u003c/p>\n\u003cp>Twelve young women in their teens and early twenties are walking on a stage surrounded by twinkling lights that look like a starry night sky, wearing eye-catching dresses of Seminole Indian patchwork. They’re contestants in the 58th annual Miss Florida Seminole Princess Pageant. The winner will be the tribe’s ambassador to the wider world.\u003c/p>\n\u003cp>Lewis Gopher was one of the emcees at the pageant, which takes place the last weekend in July. He explains what patchwork is to the crowd at tribal headquarters in Hollywood, Fla.\u003c/p>\n\u003cp>“Sewing is very important to our people,” Gopher says. “There are traditional outfits, which is all cotton, but also new materials like rayon and lace. It’s evolved, just like we have, and we put our own twist on patchwork garments.”\u003c/p>\n\u003cp>Seminole patchwork is not the patchwork we associate with quilting bees and bedspreads. Think of it almost more like cotton origami, squares of cloth rolled and folded into symbols: flags, crosses, bird, traditional elements. The symbols are sewn into strips, and these strips are sewn together to make garments like jackets, vests and skirts. Many Seminole tribal members wear patchwork daily, and nearly always wear it for special occasions like pageants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Making patchwork is intricate and time-consuming, and a finished garment can cost hundreds of dollars. For reasons of tradition and economy, pageant contestants often learn to make it. Twenty-year-old contestant Alexis Jumper is one of them.\u003c/p>\n\u003cp>“I go about picking the colors, and then from there, I would cut the strips and everything in the colors I want, and I can decide if I want to be more traditional, or I can go for a more flashy approach to it,” she says. “I love shiny.”\u003c/p>\n\u003cp>Alexis comes from Hollywood, the largest of the Seminole reservations and communities in South Florida. For her, the pageant is more than a rite of passage — it’s a career step up the tribal hierarchy.\u003c/p>\n\u003cp>“I want to get a job here at the tribe because I want to one day work up to Secretary and then one day I want to strive to be Chairman,” she says.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"medium\" link=\"none\" ids=\"11196920,11196935,11196934,11196933,11196932,11196931,11196930,11196928,11196927,11196926,11196925,11196924,11196923,11196922,11196921\"]\u003c/p>\n\u003cp>Betty Mae Jumper was the first woman elected chairman of any federally recognized American Indian tribe.\u003c/p>\n\u003cp>The Princess Pageant began when the Seminoles were working to gain federal recognition, back in the late 1950’s. Pageant Director Wanda Bowers tells the story of the young secretary who was accompanying tribal elders to Washington, DC. She tired of a certain question.\u003c/p>\n\u003cp>“They’d ask, ‘Is she your princess?’,” says Bowers. “She would always say ‘I’m the secretary-treasurer of the tribe. I’m their translator, their note-taker’ Finally she told the chief, ‘I’m not gonna be recognized as the princess anymore. I want you to start a princess contest so that we can have an official princess to be recognized as our ambassador.”\u003c/p>\n\u003cp>By 1960, the tribe held its first such contest, and it’s become increasingly traditional over time. (The swimsuit contest was dropped after the first season.) Bowers, 64, won the pageant in ’68 and ’69. She’s has been directing the Miss Florida Seminole Princess Pageant since 1991. With the Jr. Miss Pageant added, young women 13 to 25 can participate. Princesses travel — a lot.\u003c/p>\n\u003cp>Alexis is one of several contestants who made some of her outfits. “I learned all my sewing at the [Art and] Culture Center here in Hollywood. Sewing is something that I really love doing. It’s one of my major hobbies that I do every day.”\u003c/p>\n\u003cp>The invention of the sewing machine changed the way the tribe looked. When the Singer sewing machine came into existence in the 19th century, the Seminoles embraced it. The outline of the long skirts and capes emulated European dress — and kept mosquitoes at bay. By the 20th century, tourists sought the Seminole patchwork, too, and that brought in money for the tribe.\u003c/p>\n\u003cp>The sewing room at the Arts and Culture Center is always busy, especially around the Princess Pageant and other festival times. It’s lined with bright skeins of thread, rickrack and bias tape, and banks of sewing machines — even a display of old hand-cranked models.\u003c/p>\n\u003cp>One of the seamstresses in the sewing room on a weekday morning is Shannon Tiger.\u003c/p>\n\u003cp>“I’m making Fire,” she says, of the cloth piecework she’s running on a sewing machine. “This pattern comes from when you start with [another pattern called] Rain, … but you cut it into two squares, and then you cut it and put it them together at an angle and then you get Fire.”\u003c/p>\n\u003cp>For another seamstress, patchwork is also a business. Ashley Cypress is a member of the closely related Miccosukee Tribe. She sews for natives and non-native people alike. She uses social media expertly, especially \u003ca href=\"https://www.instagram.com/alleykatkreations/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. She’s dressed a lot of pageant contestants.\u003c/p>\n\u003cp>“They’ll come to me with a picture and say, ‘Do you think you can make something like this?’ I’m like, ‘I’ll try it!’ Pinterest is like my best friend,” she says, laughing.\u003c/p>\n\u003cfigure id=\"attachment_11196938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg\" alt=\"Earlier contestants from the 1960's for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11196938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Earlier contestants from the 1960’s for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions. \u003ccite>(Courtesy: Seminole Tribe of Florida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One historian says that what makes Seminole patchwork so appealing is the way the patterns move: in the wind or when someone is walking. Arrayed on a stage, the patterns on the young women glow, as if they were part of a neon Pop-art kaleidoscope — they’re often made from modern fabrics today like satin and velvet. In the case of Alexis Jumper’s skirt and cape, she’s used sequins and lace.\u003c/p>\n\u003cp>Alexis greets the pageant audience in Creek first, then English. “Hello and good evening, everyone. My name is Alexis Jumper. I am 20 years old and from the Hollywood Reservation.”\u003c/p>\n\u003cp>Alexis came in second runner-up.\u003c/p>\n\u003cp>Tribal members, like Wanda Bowers, call the contestants the “life-givers” of the next generation. Her daughter, Christine McCall is also a mentor to the contestants and the 2005 Miss Florida Seminole Princess. She reminds the competitors that their role is to represent the tribe to the outside world.\u003c/p>\n\u003cp>“I have to remind the girls that, yes, you know who we are, and you know, you might meet another person in Florida who knows who we are, but when you leave this state, more than likely they’re not going to know who we are and we have to educate them. That might see a beautiful skirt, but they don’t understand why we wear it,” she says.\u003c/p>\n\u003cp>They wear it because it identifies this small tribe as Seminole. And it sparks the curiosity of anyone who sees it. If yours has been sparked, check out \u003ca href=\"http://semtribefairandpowwow.com/\" target=\"_blank\" rel=\"noopener\">The Seminole Tribal Fair and Pow-Wow\u003c/a> at the Hollywood Hard Rock Casino, the first weekend in February.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Reporting for this story comes in part from the Florida Humanities Council and Florida Cultural Resources, Tarpon Springs.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=A+Princess+In+Patchwork%3A+Sewing+For+The+Miss+Florida+Seminole+Princess+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.theseams.org/\" target=\"_blank\" rel=\"noopener\">The Seams\u003c/a>, an occasional NPR series on clothing as culture, has been reporting a series about Florida Seminole Indian patchwork and its heritage and use in tribal life. Read the first installment in this series, “\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line\" target=\"_blank\" rel=\"noopener\">Osceola At The Fifty Yard Line.\u003c/a>“\u003c/em>\u003c/p>\n\u003cp>Twelve young women in their teens and early twenties are walking on a stage surrounded by twinkling lights that look like a starry night sky, wearing eye-catching dresses of Seminole Indian patchwork. They’re contestants in the 58th annual Miss Florida Seminole Princess Pageant. The winner will be the tribe’s ambassador to the wider world.\u003c/p>\n\u003cp>Lewis Gopher was one of the emcees at the pageant, which takes place the last weekend in July. He explains what patchwork is to the crowd at tribal headquarters in Hollywood, Fla.\u003c/p>\n\u003cp>“Sewing is very important to our people,” Gopher says. “There are traditional outfits, which is all cotton, but also new materials like rayon and lace. It’s evolved, just like we have, and we put our own twist on patchwork garments.”\u003c/p>\n\u003cp>Seminole patchwork is not the patchwork we associate with quilting bees and bedspreads. Think of it almost more like cotton origami, squares of cloth rolled and folded into symbols: flags, crosses, bird, traditional elements. The symbols are sewn into strips, and these strips are sewn together to make garments like jackets, vests and skirts. Many Seminole tribal members wear patchwork daily, and nearly always wear it for special occasions like pageants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Making patchwork is intricate and time-consuming, and a finished garment can cost hundreds of dollars. For reasons of tradition and economy, pageant contestants often learn to make it. Twenty-year-old contestant Alexis Jumper is one of them.\u003c/p>\n\u003cp>“I go about picking the colors, and then from there, I would cut the strips and everything in the colors I want, and I can decide if I want to be more traditional, or I can go for a more flashy approach to it,” she says. “I love shiny.”\u003c/p>\n\u003cp>Alexis comes from Hollywood, the largest of the Seminole reservations and communities in South Florida. For her, the pageant is more than a rite of passage — it’s a career step up the tribal hierarchy.\u003c/p>\n\u003cp>“I want to get a job here at the tribe because I want to one day work up to Secretary and then one day I want to strive to be Chairman,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Betty Mae Jumper was the first woman elected chairman of any federally recognized American Indian tribe.\u003c/p>\n\u003cp>The Princess Pageant began when the Seminoles were working to gain federal recognition, back in the late 1950’s. Pageant Director Wanda Bowers tells the story of the young secretary who was accompanying tribal elders to Washington, DC. She tired of a certain question.\u003c/p>\n\u003cp>“They’d ask, ‘Is she your princess?’,” says Bowers. “She would always say ‘I’m the secretary-treasurer of the tribe. I’m their translator, their note-taker’ Finally she told the chief, ‘I’m not gonna be recognized as the princess anymore. I want you to start a princess contest so that we can have an official princess to be recognized as our ambassador.”\u003c/p>\n\u003cp>By 1960, the tribe held its first such contest, and it’s become increasingly traditional over time. (The swimsuit contest was dropped after the first season.) Bowers, 64, won the pageant in ’68 and ’69. She’s has been directing the Miss Florida Seminole Princess Pageant since 1991. With the Jr. Miss Pageant added, young women 13 to 25 can participate. Princesses travel — a lot.\u003c/p>\n\u003cp>Alexis is one of several contestants who made some of her outfits. “I learned all my sewing at the [Art and] Culture Center here in Hollywood. Sewing is something that I really love doing. It’s one of my major hobbies that I do every day.”\u003c/p>\n\u003cp>The invention of the sewing machine changed the way the tribe looked. When the Singer sewing machine came into existence in the 19th century, the Seminoles embraced it. The outline of the long skirts and capes emulated European dress — and kept mosquitoes at bay. By the 20th century, tourists sought the Seminole patchwork, too, and that brought in money for the tribe.\u003c/p>\n\u003cp>The sewing room at the Arts and Culture Center is always busy, especially around the Princess Pageant and other festival times. It’s lined with bright skeins of thread, rickrack and bias tape, and banks of sewing machines — even a display of old hand-cranked models.\u003c/p>\n\u003cp>One of the seamstresses in the sewing room on a weekday morning is Shannon Tiger.\u003c/p>\n\u003cp>“I’m making Fire,” she says, of the cloth piecework she’s running on a sewing machine. “This pattern comes from when you start with [another pattern called] Rain, … but you cut it into two squares, and then you cut it and put it them together at an angle and then you get Fire.”\u003c/p>\n\u003cp>For another seamstress, patchwork is also a business. Ashley Cypress is a member of the closely related Miccosukee Tribe. She sews for natives and non-native people alike. She uses social media expertly, especially \u003ca href=\"https://www.instagram.com/alleykatkreations/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. She’s dressed a lot of pageant contestants.\u003c/p>\n\u003cp>“They’ll come to me with a picture and say, ‘Do you think you can make something like this?’ I’m like, ‘I’ll try it!’ Pinterest is like my best friend,” she says, laughing.\u003c/p>\n\u003cfigure id=\"attachment_11196938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg\" alt=\"Earlier contestants from the 1960's for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11196938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Earlier contestants from the 1960’s for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions. \u003ccite>(Courtesy: Seminole Tribe of Florida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One historian says that what makes Seminole patchwork so appealing is the way the patterns move: in the wind or when someone is walking. Arrayed on a stage, the patterns on the young women glow, as if they were part of a neon Pop-art kaleidoscope — they’re often made from modern fabrics today like satin and velvet. In the case of Alexis Jumper’s skirt and cape, she’s used sequins and lace.\u003c/p>\n\u003cp>Alexis greets the pageant audience in Creek first, then English. “Hello and good evening, everyone. My name is Alexis Jumper. I am 20 years old and from the Hollywood Reservation.”\u003c/p>\n\u003cp>Alexis came in second runner-up.\u003c/p>\n\u003cp>Tribal members, like Wanda Bowers, call the contestants the “life-givers” of the next generation. Her daughter, Christine McCall is also a mentor to the contestants and the 2005 Miss Florida Seminole Princess. She reminds the competitors that their role is to represent the tribe to the outside world.\u003c/p>\n\u003cp>“I have to remind the girls that, yes, you know who we are, and you know, you might meet another person in Florida who knows who we are, but when you leave this state, more than likely they’re not going to know who we are and we have to educate them. That might see a beautiful skirt, but they don’t understand why we wear it,” she says.\u003c/p>\n\u003cp>They wear it because it identifies this small tribe as Seminole. And it sparks the curiosity of anyone who sees it. If yours has been sparked, check out \u003ca href=\"http://semtribefairandpowwow.com/\" target=\"_blank\" rel=\"noopener\">The Seminole Tribal Fair and Pow-Wow\u003c/a> at the Hollywood Hard Rock Casino, the first weekend in February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting for this story comes in part from the Florida Humanities Council and Florida Cultural Resources, Tarpon Springs.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=A+Princess+In+Patchwork%3A+Sewing+For+The+Miss+Florida+Seminole+Princess+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Is this Snowy Wonderland or the World Inside a Petri Dish?",
"headTitle": "Is this Snowy Wonderland or the World Inside a Petri Dish? | KQED",
"content": "\u003cp>Do you remember cutting paper snowflakes in school? Artist Rogan Brown has elevated that simple seasonal art form and taken it to science class.\u003c/p>\n\u003cp>These large-scale paper sculptures may evoke snow, but actually trade on the forms of bacteria and other organisms. The patterns may feel familiar, but also a bit alien. You’re not looking at a replica of a microbe, but an interpretation of one. And that distinction, Brown says, is important.\u003c/p>\n\u003cp>“Both art and science seek to represent truth but in different ways,” the 49-year-old artist, who lives in France, tells Shots. “It’s the difference between understanding a landscape by looking at a detailed relief map and understanding it by looking at a painting by Cezanne or Van Gogh.”\u003c/p>\n\u003cp>Brown wants to you to \u003cem>feel\u003c/em> something looking at these sculptures.\u003c/p>\n\u003cp>Last year, he met with a group of microbiologists to plan an exhibition on the human microbiome. He became fascinated by the hidden world of microbes and the strange shapes of pathogens. He was particularly interested in humans’ fear of the invisible microbiological world. That meeting led him to spend four months creating \u003cem>Outbreak\u003c/em> entirely by hand. \u003c/p>\n\u003cfigure id=\"attachment_11193677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg\" alt=\"Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014.\" width=\"640\" height=\"327\" class=\"size-large wp-image-11193677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-400x204.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1920x981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-960x491.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg\" alt='Outbreak took four months to cut and build. Brown writes on his website that the slow process of cutting mimics the \"long time-based processes that dominate nature: growth and decay.\"' width=\"640\" height=\"642\" class=\"size-large wp-image-11193678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850.jpg 1217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Outbreak\u003c/em> took four months to cut and build\u003cem>.\u003c/em> Brown writes on his website that the slow process of cutting mimics the “long time-based processes that dominate nature: growth and decay.” \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193679\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg\" alt='A detailed view of <em>Outbreak</em> shows the delicate forms Brown cut by hand. He says he works with paper because it \"embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy' width=\"640\" height=\"480\" class=\"size-large wp-image-11193679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b.jpg 1626w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A detailed view of \u003cem>Outbreak\u003c/em> shows the delicate forms Brown cut by hand. He says he works with paper because it “embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He starts each construction by sketching detailed designs and then mocking them up in larger pen and ink drawings. Then he begins to think in 3-D. Each structure is composed of layers of paper, which are stacked using foam board spacers. This floating effect allows him to build a complex colony of organisms that appear to grow beyond the confines of their housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “Cut Microbe”, that growth is chaotic. The whip-like appendages of the creature branch outward in an invasive way. Those legs, Brown writes on his website, were inspired by the flagella of Salmonella and E. coli, tiny appendages that help the bacteria move.\u003c/p>\n\u003cfigure id=\"attachment_11193680\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg\" alt='\"Cut Microbe\" left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli' width=\"640\" height=\"433\" class=\"size-large wp-image-11193680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37.jpg 1805w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Cut Microbe” left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Magic Circle”, the architecture is more constructive, ordered — there are colonies of intricately shaped forms that evoke the collaborative, constructive network of a coral reef. It also evokes microbes and diatoms.\u003c/p>\n\u003cfigure id=\"attachment_11193681\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg\" alt='\"Magic Circle\" borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes.' width=\"640\" height=\"630\" class=\"size-large wp-image-11193681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd.jpg 1185w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Magic Circle” borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Brown’s work is sliced meticulously by hand using a scalpel. Others, like the one above, are also cut using a laser. The end result is a fragile paper sculpture that borrows from what we can see as well as the artistic imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We live in a world dominated by science,” Brown says. “Art needs to work hard to keep up or use the language and imagery of science for its own ends.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Is+This+Snowy+Wonderland+Or+The+World+Inside+A+Petri+Dish%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Artist Rogan Brown peers into the invisible worlds of microbes, then uses their forms as the inspiration for large paper sculptures that seem at once familiar and profoundly alien.",
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"description": "Artist Rogan Brown peers into the invisible worlds of microbes, then uses their forms as the inspiration for large paper sculptures that seem at once familiar and profoundly alien.",
"title": "Is this Snowy Wonderland or the World Inside a Petri Dish? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you remember cutting paper snowflakes in school? Artist Rogan Brown has elevated that simple seasonal art form and taken it to science class.\u003c/p>\n\u003cp>These large-scale paper sculptures may evoke snow, but actually trade on the forms of bacteria and other organisms. The patterns may feel familiar, but also a bit alien. You’re not looking at a replica of a microbe, but an interpretation of one. And that distinction, Brown says, is important.\u003c/p>\n\u003cp>“Both art and science seek to represent truth but in different ways,” the 49-year-old artist, who lives in France, tells Shots. “It’s the difference between understanding a landscape by looking at a detailed relief map and understanding it by looking at a painting by Cezanne or Van Gogh.”\u003c/p>\n\u003cp>Brown wants to you to \u003cem>feel\u003c/em> something looking at these sculptures.\u003c/p>\n\u003cp>Last year, he met with a group of microbiologists to plan an exhibition on the human microbiome. He became fascinated by the hidden world of microbes and the strange shapes of pathogens. He was particularly interested in humans’ fear of the invisible microbiological world. That meeting led him to spend four months creating \u003cem>Outbreak\u003c/em> entirely by hand. \u003c/p>\n\u003cfigure id=\"attachment_11193677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg\" alt=\"Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014.\" width=\"640\" height=\"327\" class=\"size-large wp-image-11193677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-400x204.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1920x981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-960x491.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg\" alt='Outbreak took four months to cut and build. Brown writes on his website that the slow process of cutting mimics the \"long time-based processes that dominate nature: growth and decay.\"' width=\"640\" height=\"642\" class=\"size-large wp-image-11193678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850.jpg 1217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Outbreak\u003c/em> took four months to cut and build\u003cem>.\u003c/em> Brown writes on his website that the slow process of cutting mimics the “long time-based processes that dominate nature: growth and decay.” \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193679\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg\" alt='A detailed view of <em>Outbreak</em> shows the delicate forms Brown cut by hand. He says he works with paper because it \"embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy' width=\"640\" height=\"480\" class=\"size-large wp-image-11193679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b.jpg 1626w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A detailed view of \u003cem>Outbreak\u003c/em> shows the delicate forms Brown cut by hand. He says he works with paper because it “embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He starts each construction by sketching detailed designs and then mocking them up in larger pen and ink drawings. Then he begins to think in 3-D. Each structure is composed of layers of paper, which are stacked using foam board spacers. This floating effect allows him to build a complex colony of organisms that appear to grow beyond the confines of their housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “Cut Microbe”, that growth is chaotic. The whip-like appendages of the creature branch outward in an invasive way. Those legs, Brown writes on his website, were inspired by the flagella of Salmonella and E. coli, tiny appendages that help the bacteria move.\u003c/p>\n\u003cfigure id=\"attachment_11193680\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg\" alt='\"Cut Microbe\" left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli' width=\"640\" height=\"433\" class=\"size-large wp-image-11193680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37.jpg 1805w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Cut Microbe” left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Magic Circle”, the architecture is more constructive, ordered — there are colonies of intricately shaped forms that evoke the collaborative, constructive network of a coral reef. It also evokes microbes and diatoms.\u003c/p>\n\u003cfigure id=\"attachment_11193681\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg\" alt='\"Magic Circle\" borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes.' width=\"640\" height=\"630\" class=\"size-large wp-image-11193681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd.jpg 1185w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Magic Circle” borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Brown’s work is sliced meticulously by hand using a scalpel. Others, like the one above, are also cut using a laser. The end result is a fragile paper sculpture that borrows from what we can see as well as the artistic imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We live in a world dominated by science,” Brown says. “Art needs to work hard to keep up or use the language and imagery of science for its own ends.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Is+This+Snowy+Wonderland+Or+The+World+Inside+A+Petri+Dish%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tarantino Holes Up A Few Outlaws In 'The Hateful Eight'",
"headTitle": "Tarantino Holes Up A Few Outlaws In ‘The Hateful Eight’ | KQED",
"content": "\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_UI1GzaWv0\u003c/p>\n\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\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/6_UI1GzaWv0'\n title='//www.youtube.com/embed/6_UI1GzaWv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When NBC announced \u003cem>The Wiz \u003c/em>— the African-American version of \u003cem>The Wizard of Oz,\u003c/em> presented as a hit Broadway musical and a movie — would be produced as a live television production, some TV watchers may have groaned.\u003c/p>\n\u003cp>Previous live telecasts of other musicals have gotten attention mainly as a target for hate-watching. But \u003cem>The Wiz Live!\u003c/em> seems to have broken that spell: When it aired earlier this month, it earned 11.5 million viewers — and more if you count DVR replays.\u003c/p>\n\u003cp>It was one of the top viewing choices of the week among both kids and adults, and was the most-tweeted live special program ever, according to Nielsen’s records.\u003c/p>\n\u003cp>Just this week it earned five Critics’ Choice Award nominations. It was rebroadcast on Saturday night, and it’s \u003ca href=\"http://www.nbc.com/the-wiz-live/video/the-wiz-live/2943548\" target=\"_blank\" rel=\"noopener\">available on NBC.com\u003c/a> and other streaming services.\u003c/p>\n\u003cp>Two of the show’s stars — Shanice Williams, who had a huge breakout moment as Dorothy, the Kansas girl who goes on a quest to get back home, and Grammy-winning artist Ne-Yo, who showed off his skills as a singer, dancer and composer as the Tin Man — joined NPR’s Michel Martin to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_11180362\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg\" alt=\"Shanice Williams' role as Dorothy was her first professional gig ever\" width=\"640\" height=\"360\" class=\"size-large wp-image-11180362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shanice Williams’ role as Dorothy was her first professional gig ever \u003ccite>(Virginia Sherwood/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Williams, on performing with so many heavy hitters in her first major professional role\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “At the beginning, I was questioning, ‘Am I really the right Dorothy? Did they really make the right choice?’ But as we went along the journey, like Ne-Yo says, there is a reason for everything.”\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo, on whether he was concerned about the hate-watching of previous live musicals\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “I didn’t feel like anything was gonna go wrong. I knew the possibility was there, and I knew that the haters was there and the skeptics were there and everybody was just basically waiting on us to mess up. That kind of created a pressure that just made us do that much better. We basically knew that we were gonna get out there and we were gonna do what we had to do. We knew we were.”\u003c/p>\n\u003cp>\u003cstrong>On the song Ne-Yo wrote for the new production, “We Got It”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “At that point, you kind of see the four friends for the first time just doubting the whole situation. You know, in the song it’s Dorothy that actually rallies the troops and gets everybody together and lets it be known that in order to make this happen, we gotta work together — and if we work together there’s nothing we can’t accomplish.”\u003c/p>\n\u003cp>\u003cstrong>On the importance of the show’s legacy\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “Kenny [Leon, the director,] jammed it in our head every other day: We’re standing on very tall shoulders with this, and we have a responsibility to the legacy of what this is. Let’s add a positive note to the legacy. And we went for it, we gave it everything.”\u003c/p>\n\u003cp>\u003cstrong>On \u003ca href=\"http://www.ew.com/article/2015/12/04/wiz-live-where-toto-burning-questions-answered\">Toto disappearing\u003c/a> during the production\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “We were doing the Broadway version. In the Broadway version, Toto comes at the beginning and the end. So, Toto is a star, and he was right where he needed to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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+Wiz+Live%21%27+Defied+The+Skeptics%2C+Returns+For+A+Second+Round&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When NBC announced \u003cem>The Wiz \u003c/em>— the African-American version of \u003cem>The Wizard of Oz,\u003c/em> presented as a hit Broadway musical and a movie — would be produced as a live television production, some TV watchers may have groaned.\u003c/p>\n\u003cp>Previous live telecasts of other musicals have gotten attention mainly as a target for hate-watching. But \u003cem>The Wiz Live!\u003c/em> seems to have broken that spell: When it aired earlier this month, it earned 11.5 million viewers — and more if you count DVR replays.\u003c/p>\n\u003cp>It was one of the top viewing choices of the week among both kids and adults, and was the most-tweeted live special program ever, according to Nielsen’s records.\u003c/p>\n\u003cp>Just this week it earned five Critics’ Choice Award nominations. It was rebroadcast on Saturday night, and it’s \u003ca href=\"http://www.nbc.com/the-wiz-live/video/the-wiz-live/2943548\" target=\"_blank\" rel=\"noopener\">available on NBC.com\u003c/a> and other streaming services.\u003c/p>\n\u003cp>Two of the show’s stars — Shanice Williams, who had a huge breakout moment as Dorothy, the Kansas girl who goes on a quest to get back home, and Grammy-winning artist Ne-Yo, who showed off his skills as a singer, dancer and composer as the Tin Man — joined NPR’s Michel Martin to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_11180362\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg\" alt=\"Shanice Williams' role as Dorothy was her first professional gig ever\" width=\"640\" height=\"360\" class=\"size-large wp-image-11180362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shanice Williams’ role as Dorothy was her first professional gig ever \u003ccite>(Virginia Sherwood/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Williams, on performing with so many heavy hitters in her first major professional role\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “At the beginning, I was questioning, ‘Am I really the right Dorothy? Did they really make the right choice?’ But as we went along the journey, like Ne-Yo says, there is a reason for everything.”\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo, on whether he was concerned about the hate-watching of previous live musicals\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “I didn’t feel like anything was gonna go wrong. I knew the possibility was there, and I knew that the haters was there and the skeptics were there and everybody was just basically waiting on us to mess up. That kind of created a pressure that just made us do that much better. We basically knew that we were gonna get out there and we were gonna do what we had to do. We knew we were.”\u003c/p>\n\u003cp>\u003cstrong>On the song Ne-Yo wrote for the new production, “We Got It”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “At that point, you kind of see the four friends for the first time just doubting the whole situation. You know, in the song it’s Dorothy that actually rallies the troops and gets everybody together and lets it be known that in order to make this happen, we gotta work together — and if we work together there’s nothing we can’t accomplish.”\u003c/p>\n\u003cp>\u003cstrong>On the importance of the show’s legacy\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “Kenny [Leon, the director,] jammed it in our head every other day: We’re standing on very tall shoulders with this, and we have a responsibility to the legacy of what this is. Let’s add a positive note to the legacy. And we went for it, we gave it everything.”\u003c/p>\n\u003cp>\u003cstrong>On \u003ca href=\"http://www.ew.com/article/2015/12/04/wiz-live-where-toto-burning-questions-answered\">Toto disappearing\u003c/a> during the production\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “We were doing the Broadway version. In the Broadway version, Toto comes at the beginning and the end. So, Toto is a star, and he was right where he needed to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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+Wiz+Live%21%27+Defied+The+Skeptics%2C+Returns+For+A+Second+Round&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For a brief moment \u003ca href=\"http://www.reviewjournal.com/news/nation-and-world/miss-philippines-crowned-miss-universe-planet-hollywood-after-harvey-gaffe\" target=\"_blank\" rel=\"noopener\">in Las Vegas \u003c/a>Sunday night, Miss Colombia Ariadna Gutierrez Arevalo was crowned \u003ca href=\"http://missuniverse.com/\" target=\"_blank\" rel=\"noopener\">Miss Universe\u003c/a>.\u003c/p>\n\u003cp>Then host Steve Harvey apologized, saying he had read the card wrong.\u003c/p>\n\u003cp>The real winner was Miss Philippines Pia Alonzo Wurtzbach.\u003c/p>\n\u003cp>Miss Colombia it turns out was the first runner-up.\u003c/p>\n\u003cp>The crown was taken off Arevalo’s head and place on Wurtzbach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Assoicated Press reports that after the live broadcast on Fox, Harvey and an executive for pageant owner WME-IMG, an entertaiment company, called it human error.\u003c/p>\n\u003cp>Harvey is quoted as saying, “Nobody feels worse about this than me.”\u003c/p>\n\u003cp>“I’d like to apologize wholeheartedly to Miss Colombia and Miss Philippines for my huge mistake,” Harvey said on Twitter. “I feel terrible.”\u003c/p>\n\u003cp>Had Arevalo been the winner, Colombia would have won the contest two years in a row.\u003c/p>\n\u003cp>The pageant got attention in June when co-owner Donald Trump made anti-immigrant remarks while announcing his bid to run for the Republican presidential nomination.\u003c/p>\n\u003cp>The other owner was Comcast Corp’s NBCUniversal.\u003c/p>\n\u003cp>Spanish-language network \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"_blank\" rel=\"noopener\">Univision pulled out of a deal \u003c/a>to televise the pageant, and NBC cut ties with Trump.\u003c/p>\n\u003cp>Trump sued and eventually settled with NBC and bought the network’s stake in Miss Universe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Trump later sold Miss Universe, Miss USA and Miss Teen USA pageants to WME-IMG. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. \n\u003cp>To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oops%3A+Wrong+Name+Announced+As+Winner+Of+Miss+Universe+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Assoicated Press reports that after the live broadcast on Fox, Harvey and an executive for pageant owner WME-IMG, an entertaiment company, called it human error.\u003c/p>\n\u003cp>Harvey is quoted as saying, “Nobody feels worse about this than me.”\u003c/p>\n\u003cp>“I’d like to apologize wholeheartedly to Miss Colombia and Miss Philippines for my huge mistake,” Harvey said on Twitter. “I feel terrible.”\u003c/p>\n\u003cp>Had Arevalo been the winner, Colombia would have won the contest two years in a row.\u003c/p>\n\u003cp>The pageant got attention in June when co-owner Donald Trump made anti-immigrant remarks while announcing his bid to run for the Republican presidential nomination.\u003c/p>\n\u003cp>The other owner was Comcast Corp’s NBCUniversal.\u003c/p>\n\u003cp>Spanish-language network \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"_blank\" rel=\"noopener\">Univision pulled out of a deal \u003c/a>to televise the pageant, and NBC cut ties with Trump.\u003c/p>\n\u003cp>Trump sued and eventually settled with NBC and bought the network’s stake in Miss Universe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Trump later sold Miss Universe, Miss USA and Miss Teen USA pageants to WME-IMG. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. \n\u003cp>To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oops%3A+Wrong+Name+Announced+As+Winner+Of+Miss+Universe+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With bigger advance sales than any movie in history, \u003cem>Star Wars: The Force Awakens\u003c/em> needs reviews like a Death Star needs a decorative fountain. But all you really want to know is whether it’s good, right? Well, in fact, it is better than it had to be. The fanfare starts and we’re all kids again, anyway. Thirty-eight years and sticking it out through three lackluster prequels hasn’t dimmed the force of memory. I still believed — I’m guessing we all believed — that the magic could come back, and now director J.J. Abrams has proved it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sGbxmsDFVnE\u003c/p>\n\u003cp>He not only got the old gang back together — Han (Harrison Ford), Leia (Carrie Fisher), Luke (Mark Hamill) — but starting with an opening battle on a desert planet, he introduces a brace of new, young and (happily) diverse characters: resistance pilot Poe (Oscar Isaac) and his spherical droid BB-8 (sort of R2-D2 mated with a volleyball); new villain Kylo Ren (Adam Driver), who looks and sounds a lot like an old villain; scrappy female scavenger Rey (Daisy Ridley), who’s also a pilot; and Finn (John Boyega), a Stormtrooper gone AWOL who decides Rey needs protecting, whether she wants it or not.\u003c/p>\n\u003cp>I shouldn’t — and won’t — talk about what any of them do for the film’s 135 minutes. Let me just say that they do it really well: Rey is feisty enough to banish thoughts of Katniss Everdeen from the most devoted \u003cem>Hunger Games\u003c/em> enthusiast; Finn is the sort of impetuous, can-do hero who will inspire a whole new generation of Star Warriors; and when the old warriors arrive on the scene, well, just try not to tear up.\u003c/p>\n\u003cp>It is possible to have questions (Why does Adam Driver’s villain wear a mask and cloak? A goth thing left over from intergalactic high school, maybe?) and the nostalgia gets thick enough that the film turns into an echo chamber at times, with family themes reverberating from that original trilogy. So it’s a good thing that the script by Lawrence Kasdan (who wrote much of the original trilogy) is so light on its feet and funny. Harrison Ford can still land a punchline and a punch in battles that Abrams keeps as rip-roaring as you were hoping.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for themes? Well, family and friendship and resisting authoritarianism, I guess. I was seeing red-state-blue-state resonance in the colors of the lightsabers for a second, then realized that was just because someone had sent me a “Trump Vader” video last week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KU_Jdts5rL0\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s most fun about what Abrams does here isn’t the big stuff, though that’s pretty glorious. Amid all the grandeur — the crashed spaceships and looming Death Stars — Abrams lives for the intimate details that make this story feel so real and relatable. Like letting you see how a spherical droid would descend a staircase — just like a little kid would, as it happens. And watching it, I felt like a little kid again: Force awakened.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for themes? Well, family and friendship and resisting authoritarianism, I guess. I was seeing red-state-blue-state resonance in the colors of the lightsabers for a second, then realized that was just because someone had sent me a “Trump Vader” video last week.\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/KU_Jdts5rL0'\n title='//www.youtube.com/embed/KU_Jdts5rL0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>What’s most fun about what Abrams does here isn’t the big stuff, though that’s pretty glorious. Amid all the grandeur — the crashed spaceships and looming Death Stars — Abrams lives for the intimate details that make this story feel so real and relatable. Like letting you see how a spherical droid would descend a staircase — just like a little kid would, as it happens. And watching it, I felt like a little kid again: Force awakened.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015",
"headTitle": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015 | KQED",
"content": "\u003cp>It’s odd to have a body. Limbs, joints, cartilage, veins, nerves, cells—the looming presence of such inescapable parts can make for confounding states of existential estrangement. Move on to other parts that signify conventions of gender and the notion can be enough to turn a mind inside-out.\u003c/p>\n\u003cp>Electronic music in 2015 seemed to strive toward such scrambled states. Certain strains of it, anyway: Far from the arena-rattling idols of EDM, a cast of progressive experimentalists turned to matters of gender as a subject ripe for survey in both danceable and non-danceable electronic milieus. In a genre that has long privileged elusiveness and anonymity—think of the archetypal faceless DJ with seven confusing aliases spinning in a darkened club—the question of identity came in for new and imaginatively expansive focus.\u003c/p>\n\u003cp>Signs of gender morphing and moving through unprecedented stages of understanding and acceptance have been evident all throughout the culture, from the pop-scale heights of Caitlyn Jenner, Laverne Cox and the TV series \u003cem>Transparent\u003c/em> to \u003ca href=\"http://www.nytimes.com/2015/12/03/insider/mx-did-the-times-adopt-a-new-transgender-courtesy-title.html\">articles in major newspapers contemplating the use of Mx.\u003c/a> as a gender-neutral honorific in place of Mr. or Ms. Even if the language lags, recognition of grey areas between too-tidy notions of binary black and white has been on the rise, to be sure.\u003c/p>\n\u003cp>The dynamic in electronic music draws in part from movements established in art, fashion, and other realms with which music in general has begun to blur. To make music that aspires toward progressivism now is also to direct videos, dabble in design, and negotiate options for the presentation of different personae across all kinds of media. In the present era, a musician of a certain age (read: young) is rarely just a musician in the end.\u003c/p>\n\u003cfigure id=\"attachment_11155957\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg\" alt=\"Arca.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arca. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of most note in terms of reach, Arca—the artist and producer who collaborated with Björk on her stirring album \u003cem>Vulnicura\u003c/em>—stretched and contorted matters of the flesh this year to intriguing extremes. Following his 2014 debut album \u003cem>Xen\u003c/em> (named after an alter-ego addressed with feminine pronouns but said to be neither female nor male), Arca hit bigger with \u003cem>Mutant\u003c/em>, a bracing album full of crashing, creaking rhythms and all manner of noise and aural corrosion fitted between. Certain songs came accompanied with videos in which bodies are contemplated from a vantage that could be the result of liberated lust or eerie leering—or, most likely, both. The effect in any case is spellbinding, with Arca himself presented as a sort of mutating abstract wraith \u003ca href=\"https://www.youtube.com/watch?v=Wtn7mNNqvqA\">writhing in yellow thigh-high boots\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?time_continue=261&v=0SYMoTBYT04\">shimmering strangely underwater in stockings\u003c/a> with a garter-belt in place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sexuality is central to the aesthetic but in a more than typically revealing and signal-scrambling way. Talking about his approach to sound and seemingly much else, Arca said, in an interview with Philip Sherburne at \u003cem>Pitchfork\u003c/em>, “You become more animalistic when you don’t know what’s coming next—you have to be on guard, but at the same time you’re also more receptive. Something I keep coming back to is the tension between two extremes: healing and chaos, hope and anxiety—these big themes are inside us, flickering, all day.”\u003c/p>\n\u003cp>On the subject of his sexuality, he continued: “For me, it’s not about living my life as a boy or a girl—but I’m also not trans—it’s just that one day you wake up feeling masculine, and one day you wake up feeling feminine. The flickering in between those two states is what’s most fertile for me.\u003c/p>\n\u003cp>The flickering projects internally as well as externally, he said: “It yields ways for me to relate to people that are different from myself and opportunities for me to turn shame into something healing. It’s very human to try to put things into boxes, and it’s hard for us to reconcile with grey areas, and yet somehow that’s the area I find the most poetic, the juiciest.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mYEyHb8x6AY\u003c/p>\n\u003cp>Many of Arca’s revelations, he has said, owe to experiences at GHE20G0TH1K, a storied dance party and proudly freaky fashion confab started in New York and traveled around the globe. In 2015, the party was paid tribute with a big event in its honor as part of the Red Bull Music Academy, with antic, epochally style-smashing DJ sets by Venus X, Mike Q, and Total Freedom. The sounds were very circa now—a manic and spastic collision of house music, hip-hop, freestyle, and frenetic breakbeat miscellany. The fashion, both directly and indirectly, was inspired by Hood By Air, a \u003ca href=\"https://www.hoodbyair.com/\">vaunted designer enterprise\u003c/a> that treats no one gender conception as superior to any other nor seems especially interested in gender distinctions of any kind anyway. The clothes are often flowing, dysmorphic, and abstractly draped, fit for bodies of all conceivable human (and even alien) kinds. The music flits between dark, gothic moodscapes à la Arca and giddy, fizzy, high-energy styles that soundtrack dance battles in the “ballroom” scene, where the roots of the ’80s/’90s drag circuit still grow wild and free.\u003c/p>\n\u003cp>Another breakout from that world this year is Juliana Huxtable, whose boundary-crossing forays from the DJ booth and the performance stage to the white walls of museums and galleries made her a force in the art world. At the New Museum Triennial in New York, a survey of young and emerging artists from all over, Huxtable was represented twice: with an installation of work of her own, including otherworldly self-portraits and poetry, and as the subject of a life-size 3-D sculpture by another artist, Frank Benson, of her naked body sprawled across a pedestal in a pose that invites gawking while freezing a gaze dead in its tracks. At an exhibition in which matters of identity took on crucial importance, the image of a transgender model splayed out for all to see proved emblematic: proud, defiant, steely, shy, shifty in its play with notions of surface and unseeable inner-workings.\u003c/p>\n\u003cp>In an interview in the exhibition catalog, Huxtable said, “I used to feel a bit powerless, and it was actually through playing with my body as an image file that could be manipulated, distorted, rendered, decorated, and placed in new contexts that I came to accept and feel at home in my body as it is currently, but also to imagine how it might move into the future.”\u003c/p>\n\u003cfigure id=\"attachment_11155958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg\" alt=\"Frank Benson, 'Juliana,' 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11155958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Benson, ‘Juliana,’ 2015. \u003ccite>(Benoit Pailley/Courtesy of the artist )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nightlife and party/pageant scene around electronic music was formative for Huxtable as well as numerous other artists in the show, including Ashland Mines, who DJs prolifically (and stylistically promiscuously) as Total Freedom. To Lauren Cornell, co-curator of the Triennial (alongside the mind-warping, gender-bending artist Ryan Trecartin), the “disorienting, experimental” nature of so much contemporary electronic music proved significant in more than just musical terms. “A lot of the young artists that we worked with carry over a feeling of the club as a transgressive space in their art,” she told me.\u003c/p>\n\u003cp>The legacy of the club as a space suited for regeneration and reinvention goes back to disco and follows through countless movements rooted in the politics of gender, sexuality, race, and identity markers of all kinds. ANOHNI, the newly minted moniker for the artist formerly known as Antony of Antony & the Johnsons, made a gesture decidedly in that direction with the release of \u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\" target=\"_blank\" rel=\"noopener\">“4 Degrees,”\u003c/a> a dramatic, fractious post-club track made with electronic-music-makers Hudson Mohawke and Oneohtrix Point Never. It was the first taste of a forthcoming album-length collaboration between the three, and the first full-scale public use of what ANOHNI called a “spirit name” more in line with her transgender identification.\u003c/p>\n\u003cp>The same spirit wandered out into certain strains of (more than usually) electronically inclined hip-hop as practiced by Mykki Blanco, whose 2015 label compilation \u003cem>C-ORE\u003c/em> features her \u003ca href=\"https://www.youtube.com/watch?v=_RCritSjK-I\" target=\"_blank\" rel=\"noopener\">sassily rapping\u003c/a> about her haters—”they don’t want to see a man in a dress”—before serving up a nice zigzag line of allegiance: “I’m a big boy, like Serena.” Le1f, an enigmatic rapper who rises up and down among collaborators like House of LaDosha on his striking album \u003cem>Riot Boi\u003c/em>, plays games in an intro track titled \u003ca href=\"https://www.youtube.com/watch?v=KPSjmbhAB1g\" target=\"_blank\" rel=\"noopener\">“Hi.”\u003c/a> “Check my whole aura winking at you,” he raps, while mulling both unity and individuality: “International youth gang, we liberal / But I’ma do me is all I can do.”\u003c/p>\n\u003cp>The darker and noisier realms of electronic music came laced with queer politics this year by way of Rabit and Lotic, both of whom offered up gritty, grotty-sounding releases on the au courant label Tri Angle. In an interview with \u003cem>The Quietus\u003c/em>, Rabit, the creator of the album \u003cem>Communion\u003c/em>, said, “I found the idea of masculine and feminine energy…interesting and so my production is often a way of feeling around that. Nothing was ever made with the thought process of ‘I’m gonna sit down now and make a song about being queer’ or in some hyper-masculine mold. Gender perceptions are very divisive and can stifle progression.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uoJOQyIHEYE\u003c/p>\n\u003cp>He sees now reason for sounds themselves to be gendered, either: “It’s definitely a stereotype that if you do some kind of angelic melody it’s seen as feminine and if you do something that’s abrasive and industrial, it’s described as super masculine. I like to play with that, though, and I think somebody like Lotic is a good example of messing with that too, because he can make very abrasive sounds and place them alongside completely opposite sounds that people traditionally term as feminine.” On the title track of his own EP \u003cem>Heterocetera\u003c/em>, the likeminded Lotic made a powerful move by working with “The Ha Dance” by Masters at Work, a vintage anthem from the voguing ballroom scene, and \u003ca href=\"https://www.youtube.com/watch?v=Z0aKhBqjCi0\" target=\"_blank\" rel=\"noopener\">twisting it into something warped\u003c/a> of his own peculiar making.\u003c/p>\n\u003cp>Among the most peculiar of all electronic releases this year was \u003cem>American Drift\u003c/em> by Elysia Crampton, an artist with roots in Bolivia, Mexico, California, and rural Virginia. All figure into the dense and cryptic mythology at play in an album that mixes drifting synths with lashing laser sounds, rumbling drums, \u003ca href=\"https://www.youtube.com/watch?v=NDudnJFgras\" target=\"_blank\" rel=\"noopener\">snarling crunk samples\u003c/a>, and spoken word that binds the personal with the geographical. The impressionistic swirl of it all is singular, to be sure, but Crampton shares allegiances with much else in her milieu. She works closely with Juliana Huxtable—she made the music for a recent performance of Huxtable’s at the estimable Museum of Modern Art—and she professes adulation of Total Freedom/Ashland Mines, who she sees as an envoy for so much going on in club culture now.\u003c/p>\n\u003cfigure id=\"attachment_11155959\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe\" alt=\"Elysia Crampton\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-400x400.jpe 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-768x768.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-1180x1180.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-960x960.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-75x75.jpe 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7.jpe 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Elysia Crampton. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Crampton, matters related to her transgender identity are mystical as much as material. “I can’t confront and explore my own trans-ness without touching on a bigger trans-ness: trans-humanity, trans-thing, trans-subject, trans-etc.,” she told me. “It’s a kind of education. Terms float as taglines and become embedded. But it’s neat how algorithms push you together with other artists too.”\u003c/p>\n\u003cp>Music, for her, allows and even creates space in which different states of being and becoming can be as accepted as any other. “In this language, a person can’t come to be because the language is so binary,” Crampton said. “Or maybe they can but it makes it that much harder. In music, you make a dimensional space where certain identities and certain ideas can be born and perhaps thrive. Music has always been that for me. When it plays, you can feel your chemistry changing. If it’s something you really like, it’s like gene methylation—you can feel a genetic change.”\u003c/p>\n\u003cp>The motion and progress implied in music of whatever kind—electronic music especially—makes a good analog for transition as she conceives of it too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Trans is becoming. Trans is the difference between the universe being frozen and the universe moving forward,” she said. “Do we still have the ability to imagine alternate futures for ourselves? Or have we all just become apocalyptic?” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s odd to have a body. Limbs, joints, cartilage, veins, nerves, cells—the looming presence of such inescapable parts can make for confounding states of existential estrangement. Move on to other parts that signify conventions of gender and the notion can be enough to turn a mind inside-out.\u003c/p>\n\u003cp>Electronic music in 2015 seemed to strive toward such scrambled states. Certain strains of it, anyway: Far from the arena-rattling idols of EDM, a cast of progressive experimentalists turned to matters of gender as a subject ripe for survey in both danceable and non-danceable electronic milieus. In a genre that has long privileged elusiveness and anonymity—think of the archetypal faceless DJ with seven confusing aliases spinning in a darkened club—the question of identity came in for new and imaginatively expansive focus.\u003c/p>\n\u003cp>Signs of gender morphing and moving through unprecedented stages of understanding and acceptance have been evident all throughout the culture, from the pop-scale heights of Caitlyn Jenner, Laverne Cox and the TV series \u003cem>Transparent\u003c/em> to \u003ca href=\"http://www.nytimes.com/2015/12/03/insider/mx-did-the-times-adopt-a-new-transgender-courtesy-title.html\">articles in major newspapers contemplating the use of Mx.\u003c/a> as a gender-neutral honorific in place of Mr. or Ms. Even if the language lags, recognition of grey areas between too-tidy notions of binary black and white has been on the rise, to be sure.\u003c/p>\n\u003cp>The dynamic in electronic music draws in part from movements established in art, fashion, and other realms with which music in general has begun to blur. To make music that aspires toward progressivism now is also to direct videos, dabble in design, and negotiate options for the presentation of different personae across all kinds of media. In the present era, a musician of a certain age (read: young) is rarely just a musician in the end.\u003c/p>\n\u003cfigure id=\"attachment_11155957\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg\" alt=\"Arca.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arca. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of most note in terms of reach, Arca—the artist and producer who collaborated with Björk on her stirring album \u003cem>Vulnicura\u003c/em>—stretched and contorted matters of the flesh this year to intriguing extremes. Following his 2014 debut album \u003cem>Xen\u003c/em> (named after an alter-ego addressed with feminine pronouns but said to be neither female nor male), Arca hit bigger with \u003cem>Mutant\u003c/em>, a bracing album full of crashing, creaking rhythms and all manner of noise and aural corrosion fitted between. Certain songs came accompanied with videos in which bodies are contemplated from a vantage that could be the result of liberated lust or eerie leering—or, most likely, both. The effect in any case is spellbinding, with Arca himself presented as a sort of mutating abstract wraith \u003ca href=\"https://www.youtube.com/watch?v=Wtn7mNNqvqA\">writhing in yellow thigh-high boots\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?time_continue=261&v=0SYMoTBYT04\">shimmering strangely underwater in stockings\u003c/a> with a garter-belt in place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sexuality is central to the aesthetic but in a more than typically revealing and signal-scrambling way. Talking about his approach to sound and seemingly much else, Arca said, in an interview with Philip Sherburne at \u003cem>Pitchfork\u003c/em>, “You become more animalistic when you don’t know what’s coming next—you have to be on guard, but at the same time you’re also more receptive. Something I keep coming back to is the tension between two extremes: healing and chaos, hope and anxiety—these big themes are inside us, flickering, all day.”\u003c/p>\n\u003cp>On the subject of his sexuality, he continued: “For me, it’s not about living my life as a boy or a girl—but I’m also not trans—it’s just that one day you wake up feeling masculine, and one day you wake up feeling feminine. The flickering in between those two states is what’s most fertile for me.\u003c/p>\n\u003cp>The flickering projects internally as well as externally, he said: “It yields ways for me to relate to people that are different from myself and opportunities for me to turn shame into something healing. It’s very human to try to put things into boxes, and it’s hard for us to reconcile with grey areas, and yet somehow that’s the area I find the most poetic, the juiciest.”\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/mYEyHb8x6AY'\n title='//www.youtube.com/embed/mYEyHb8x6AY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many of Arca’s revelations, he has said, owe to experiences at GHE20G0TH1K, a storied dance party and proudly freaky fashion confab started in New York and traveled around the globe. In 2015, the party was paid tribute with a big event in its honor as part of the Red Bull Music Academy, with antic, epochally style-smashing DJ sets by Venus X, Mike Q, and Total Freedom. The sounds were very circa now—a manic and spastic collision of house music, hip-hop, freestyle, and frenetic breakbeat miscellany. The fashion, both directly and indirectly, was inspired by Hood By Air, a \u003ca href=\"https://www.hoodbyair.com/\">vaunted designer enterprise\u003c/a> that treats no one gender conception as superior to any other nor seems especially interested in gender distinctions of any kind anyway. The clothes are often flowing, dysmorphic, and abstractly draped, fit for bodies of all conceivable human (and even alien) kinds. The music flits between dark, gothic moodscapes à la Arca and giddy, fizzy, high-energy styles that soundtrack dance battles in the “ballroom” scene, where the roots of the ’80s/’90s drag circuit still grow wild and free.\u003c/p>\n\u003cp>Another breakout from that world this year is Juliana Huxtable, whose boundary-crossing forays from the DJ booth and the performance stage to the white walls of museums and galleries made her a force in the art world. At the New Museum Triennial in New York, a survey of young and emerging artists from all over, Huxtable was represented twice: with an installation of work of her own, including otherworldly self-portraits and poetry, and as the subject of a life-size 3-D sculpture by another artist, Frank Benson, of her naked body sprawled across a pedestal in a pose that invites gawking while freezing a gaze dead in its tracks. At an exhibition in which matters of identity took on crucial importance, the image of a transgender model splayed out for all to see proved emblematic: proud, defiant, steely, shy, shifty in its play with notions of surface and unseeable inner-workings.\u003c/p>\n\u003cp>In an interview in the exhibition catalog, Huxtable said, “I used to feel a bit powerless, and it was actually through playing with my body as an image file that could be manipulated, distorted, rendered, decorated, and placed in new contexts that I came to accept and feel at home in my body as it is currently, but also to imagine how it might move into the future.”\u003c/p>\n\u003cfigure id=\"attachment_11155958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg\" alt=\"Frank Benson, 'Juliana,' 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11155958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Benson, ‘Juliana,’ 2015. \u003ccite>(Benoit Pailley/Courtesy of the artist )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nightlife and party/pageant scene around electronic music was formative for Huxtable as well as numerous other artists in the show, including Ashland Mines, who DJs prolifically (and stylistically promiscuously) as Total Freedom. To Lauren Cornell, co-curator of the Triennial (alongside the mind-warping, gender-bending artist Ryan Trecartin), the “disorienting, experimental” nature of so much contemporary electronic music proved significant in more than just musical terms. “A lot of the young artists that we worked with carry over a feeling of the club as a transgressive space in their art,” she told me.\u003c/p>\n\u003cp>The legacy of the club as a space suited for regeneration and reinvention goes back to disco and follows through countless movements rooted in the politics of gender, sexuality, race, and identity markers of all kinds. ANOHNI, the newly minted moniker for the artist formerly known as Antony of Antony & the Johnsons, made a gesture decidedly in that direction with the release of \u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\" target=\"_blank\" rel=\"noopener\">“4 Degrees,”\u003c/a> a dramatic, fractious post-club track made with electronic-music-makers Hudson Mohawke and Oneohtrix Point Never. It was the first taste of a forthcoming album-length collaboration between the three, and the first full-scale public use of what ANOHNI called a “spirit name” more in line with her transgender identification.\u003c/p>\n\u003cp>The same spirit wandered out into certain strains of (more than usually) electronically inclined hip-hop as practiced by Mykki Blanco, whose 2015 label compilation \u003cem>C-ORE\u003c/em> features her \u003ca href=\"https://www.youtube.com/watch?v=_RCritSjK-I\" target=\"_blank\" rel=\"noopener\">sassily rapping\u003c/a> about her haters—”they don’t want to see a man in a dress”—before serving up a nice zigzag line of allegiance: “I’m a big boy, like Serena.” Le1f, an enigmatic rapper who rises up and down among collaborators like House of LaDosha on his striking album \u003cem>Riot Boi\u003c/em>, plays games in an intro track titled \u003ca href=\"https://www.youtube.com/watch?v=KPSjmbhAB1g\" target=\"_blank\" rel=\"noopener\">“Hi.”\u003c/a> “Check my whole aura winking at you,” he raps, while mulling both unity and individuality: “International youth gang, we liberal / But I’ma do me is all I can do.”\u003c/p>\n\u003cp>The darker and noisier realms of electronic music came laced with queer politics this year by way of Rabit and Lotic, both of whom offered up gritty, grotty-sounding releases on the au courant label Tri Angle. In an interview with \u003cem>The Quietus\u003c/em>, Rabit, the creator of the album \u003cem>Communion\u003c/em>, said, “I found the idea of masculine and feminine energy…interesting and so my production is often a way of feeling around that. Nothing was ever made with the thought process of ‘I’m gonna sit down now and make a song about being queer’ or in some hyper-masculine mold. Gender perceptions are very divisive and can stifle progression.\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/uoJOQyIHEYE'\n title='//www.youtube.com/embed/uoJOQyIHEYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He sees now reason for sounds themselves to be gendered, either: “It’s definitely a stereotype that if you do some kind of angelic melody it’s seen as feminine and if you do something that’s abrasive and industrial, it’s described as super masculine. I like to play with that, though, and I think somebody like Lotic is a good example of messing with that too, because he can make very abrasive sounds and place them alongside completely opposite sounds that people traditionally term as feminine.” On the title track of his own EP \u003cem>Heterocetera\u003c/em>, the likeminded Lotic made a powerful move by working with “The Ha Dance” by Masters at Work, a vintage anthem from the voguing ballroom scene, and \u003ca href=\"https://www.youtube.com/watch?v=Z0aKhBqjCi0\" target=\"_blank\" rel=\"noopener\">twisting it into something warped\u003c/a> of his own peculiar making.\u003c/p>\n\u003cp>Among the most peculiar of all electronic releases this year was \u003cem>American Drift\u003c/em> by Elysia Crampton, an artist with roots in Bolivia, Mexico, California, and rural Virginia. All figure into the dense and cryptic mythology at play in an album that mixes drifting synths with lashing laser sounds, rumbling drums, \u003ca href=\"https://www.youtube.com/watch?v=NDudnJFgras\" target=\"_blank\" rel=\"noopener\">snarling crunk samples\u003c/a>, and spoken word that binds the personal with the geographical. The impressionistic swirl of it all is singular, to be sure, but Crampton shares allegiances with much else in her milieu. She works closely with Juliana Huxtable—she made the music for a recent performance of Huxtable’s at the estimable Museum of Modern Art—and she professes adulation of Total Freedom/Ashland Mines, who she sees as an envoy for so much going on in club culture now.\u003c/p>\n\u003cfigure id=\"attachment_11155959\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe\" alt=\"Elysia Crampton\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-400x400.jpe 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-768x768.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-1180x1180.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-960x960.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-75x75.jpe 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7.jpe 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Elysia Crampton. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Crampton, matters related to her transgender identity are mystical as much as material. “I can’t confront and explore my own trans-ness without touching on a bigger trans-ness: trans-humanity, trans-thing, trans-subject, trans-etc.,” she told me. “It’s a kind of education. Terms float as taglines and become embedded. But it’s neat how algorithms push you together with other artists too.”\u003c/p>\n\u003cp>Music, for her, allows and even creates space in which different states of being and becoming can be as accepted as any other. “In this language, a person can’t come to be because the language is so binary,” Crampton said. “Or maybe they can but it makes it that much harder. In music, you make a dimensional space where certain identities and certain ideas can be born and perhaps thrive. Music has always been that for me. When it plays, you can feel your chemistry changing. If it’s something you really like, it’s like gene methylation—you can feel a genetic change.”\u003c/p>\n\u003cp>The motion and progress implied in music of whatever kind—electronic music especially—makes a good analog for transition as she conceives of it too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Trans is becoming. Trans is the difference between the universe being frozen and the universe moving forward,” she said. “Do we still have the ability to imagine alternate futures for ourselves? Or have we all just become apocalyptic?” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro",
"title": "Sole Copy of Latest Wu-Tang Album was Sold To 'Pharma Bro'",
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"headTitle": "Sole Copy of Latest Wu-Tang Album was Sold To ‘Pharma Bro’ | KQED",
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"content": "\u003cp>In 2014, the Wu-Tang Clan turned a double album into lost treasure.\u003c/p>\n\u003cp>\u003cem>Once Upon A Time In Shaolin \u003c/em>was heard, in its 31-track entirety, only by Wu-Tang Clan leader RZA and producer Cilvaringz.\u003c/p>\n\u003cp>They vowed to sell just a single copy — with a seven-digit price tag. They destroyed all duplicates and placed the only extant version in a hand-carved silver and nickel box, along with a 174-page leather-bound book of lyrics, anecdotes and credits.\u003c/p>\n\u003cp>They threw in a $55,000 pair of speakers and a “gold-leafed certificate of authenticity,” according to \u003ca href=\"http://scluzay.com/\">the album’s Web site\u003c/a>. They teased the music world with sneak listens. And they added a provision: The buyer couldn’t release the album commercially for 88 years after purchase.\u003c/p>\n\u003cp>Then they locked the whole thing in the vault of a luxury hotel in Marrakech, Morocco, set it up on \u003ca href=\"https://paddle8.com/wu-tang/\">an online auction house\u003c/a>, and waited to see who would buy the world’s most expensive, most exclusive album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some fans \u003ca href=\"https://www.kickstarter.com/projects/1308696559/once-upon-a-time-in-shaolin-for-wu-fans-for-wu-peo\" target=\"_blank\" rel=\"noopener\">attempted to crowdfund\u003c/a> the purchase of the album, so it could stay in the hands of non-wealthy, true believers. Instead, the album reportedly sold for millions to a secret purchaser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fuse.tv/2014/03/wu-tang-clan-secret-album\" target=\"_blank\" rel=\"noopener\">Some\u003c/a> had \u003ca href=\"http://noisey.vice.com/blog/did-quentin-tarantino-buy-the-wu-tang-clans-album\" target=\"_blank\" rel=\"noopener\">theorized\u003c/a> that Quentin Tarantino — super-wealthy Wu-Tang super-fan — was the most likely buyer.\u003c/p>\n\u003cp>Or maybe Richard Branson, who once \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2014/05/06/unlocking-the-wu-tang-clans-secret-album-in-morocco/\" target=\"_blank\" rel=\"noopener\">called it\u003c/a> a “really fun idea” and could certainly afford it. RZA himself once \u003ca href=\"http://grantland.com/hollywood-prospectus/we-went-there-the-first-and-last-chance-to-hear-wu-tangs-once-upon-a-time-in-shaolin-for-88-years/\" target=\"_blank\" rel=\"noopener\">expressed the hope\u003c/a> that the Virgin mogul would buy the album and fly it into space.\u003c/p>\n\u003cp>But on Wednesday, Bloomberg Business broke the hearts (and fanned the fury) of Wu-Tang Clan fans around the world.\u003c/p>\n\u003cp>The buyer, \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">they revealed\u003c/a>, was infamous, price-gouging pharmaceutical executive Martin Shkreli — and he hadn’t even bothered to listen to it.\u003c/p>\n\u003cp>Shkreli is the 32-year-old CEO whose company, Turing Pharmaceuticals, recently purchased the rights to a drug used to treat a deadly parasitic infection and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442684570/pharmaceutical-firms-back-off-big-price-hikes-following-critical-coverage\" target=\"_blank\" rel=\"noopener\">raised the price\u003c/a> 5,000 percent, from $13 a pill to $750. The resulting backlash brought attention to pharmaceutical price hikes in general, a debate that’s now being played out in \u003ca href=\"http://www.npr.org/sections/health-shots/2015/12/09/458976680/senate-questions-egregious-price-hikes-for-specialty-medicines\" target=\"_blank\" rel=\"noopener\">Senate hearings\u003c/a>.\u003c/p>\n\u003cp>The sale of \u003cem>Shaolin\u003c/em> had already gone through when news of the price-gouging hit, Bloomberg reports. After the “business practices came to light,” RZA told Bloomberg, the group donated some of his payment to charity.\u003c/p>\n\u003cp>Now that Shkreli has achieved ignominy, though, he’s hardly a pariah in the musical world: He’s hired Fetty Wap to perform at his company’s Christmas party.\u003c/p>\n\u003cp>It wasn’t hard, he told Bloomberg: “At the right price, these guys basically will do anything.”\u003c/p>\n\u003cfigure id=\"attachment_11149507\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg\" alt=\"AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying "Pharma greed" during a protest Oct. 1. Shkreli's company bought an antiparasitic drug and increased the price 5,000 percent.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11149507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1920x1319.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-960x659.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying “Pharma greed” during a protest Oct. 1. Shkreli’s company bought an antiparasitic drug and increased the price 5,000 percent. \u003ccite>(Photo: Craig Ruttle/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But back to the Wu-Tang Clan. Bloomberg Business notes that Shkreli is a fan, of sorts:\u003c/p>\n\u003cblockquote>\n\u003cp>“Shkreli was taken by the Wu-Tang song \u003cem>C.R.E.A.M.\u003c/em>, which stands for ‘Cash Rules Everything Around Me.’ It includes the often-repeated phrase ‘Dolla dolla bill, y’all!’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>It wasn’t fandom that drove his purchase, though. Shkreli liked the idea that owning the album would give him an in with celebrities and rappers, he told Bloomberg.\u003c/p>\n\u003cp>He didn’t listen to excerpts meant to verify the purchase — he had an employee check for him. And he reportedly still hasn’t played the album. He tells Bloomberg Business he might consider putting it on … if Taylor Swift wants to come over and hear it with him.\u003c/p>\n\u003cp>Some on social media have suggested another strategy for the pharma exec:\u003c/p>\n\u003cp>https://twitter.com/dylanlscott/status/674601290727493632\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read the whole story \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">at Bloomberg\u003c/a>.\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sole+Copy+Of+Latest+Wu-Tang+Album+Was+Sold+To+%27Pharma+Bro%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, the Wu-Tang Clan turned a double album into lost treasure.\u003c/p>\n\u003cp>\u003cem>Once Upon A Time In Shaolin \u003c/em>was heard, in its 31-track entirety, only by Wu-Tang Clan leader RZA and producer Cilvaringz.\u003c/p>\n\u003cp>They vowed to sell just a single copy — with a seven-digit price tag. They destroyed all duplicates and placed the only extant version in a hand-carved silver and nickel box, along with a 174-page leather-bound book of lyrics, anecdotes and credits.\u003c/p>\n\u003cp>They threw in a $55,000 pair of speakers and a “gold-leafed certificate of authenticity,” according to \u003ca href=\"http://scluzay.com/\">the album’s Web site\u003c/a>. They teased the music world with sneak listens. And they added a provision: The buyer couldn’t release the album commercially for 88 years after purchase.\u003c/p>\n\u003cp>Then they locked the whole thing in the vault of a luxury hotel in Marrakech, Morocco, set it up on \u003ca href=\"https://paddle8.com/wu-tang/\">an online auction house\u003c/a>, and waited to see who would buy the world’s most expensive, most exclusive album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some fans \u003ca href=\"https://www.kickstarter.com/projects/1308696559/once-upon-a-time-in-shaolin-for-wu-fans-for-wu-peo\" target=\"_blank\" rel=\"noopener\">attempted to crowdfund\u003c/a> the purchase of the album, so it could stay in the hands of non-wealthy, true believers. Instead, the album reportedly sold for millions to a secret purchaser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fuse.tv/2014/03/wu-tang-clan-secret-album\" target=\"_blank\" rel=\"noopener\">Some\u003c/a> had \u003ca href=\"http://noisey.vice.com/blog/did-quentin-tarantino-buy-the-wu-tang-clans-album\" target=\"_blank\" rel=\"noopener\">theorized\u003c/a> that Quentin Tarantino — super-wealthy Wu-Tang super-fan — was the most likely buyer.\u003c/p>\n\u003cp>Or maybe Richard Branson, who once \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2014/05/06/unlocking-the-wu-tang-clans-secret-album-in-morocco/\" target=\"_blank\" rel=\"noopener\">called it\u003c/a> a “really fun idea” and could certainly afford it. RZA himself once \u003ca href=\"http://grantland.com/hollywood-prospectus/we-went-there-the-first-and-last-chance-to-hear-wu-tangs-once-upon-a-time-in-shaolin-for-88-years/\" target=\"_blank\" rel=\"noopener\">expressed the hope\u003c/a> that the Virgin mogul would buy the album and fly it into space.\u003c/p>\n\u003cp>But on Wednesday, Bloomberg Business broke the hearts (and fanned the fury) of Wu-Tang Clan fans around the world.\u003c/p>\n\u003cp>The buyer, \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">they revealed\u003c/a>, was infamous, price-gouging pharmaceutical executive Martin Shkreli — and he hadn’t even bothered to listen to it.\u003c/p>\n\u003cp>Shkreli is the 32-year-old CEO whose company, Turing Pharmaceuticals, recently purchased the rights to a drug used to treat a deadly parasitic infection and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442684570/pharmaceutical-firms-back-off-big-price-hikes-following-critical-coverage\" target=\"_blank\" rel=\"noopener\">raised the price\u003c/a> 5,000 percent, from $13 a pill to $750. The resulting backlash brought attention to pharmaceutical price hikes in general, a debate that’s now being played out in \u003ca href=\"http://www.npr.org/sections/health-shots/2015/12/09/458976680/senate-questions-egregious-price-hikes-for-specialty-medicines\" target=\"_blank\" rel=\"noopener\">Senate hearings\u003c/a>.\u003c/p>\n\u003cp>The sale of \u003cem>Shaolin\u003c/em> had already gone through when news of the price-gouging hit, Bloomberg reports. After the “business practices came to light,” RZA told Bloomberg, the group donated some of his payment to charity.\u003c/p>\n\u003cp>Now that Shkreli has achieved ignominy, though, he’s hardly a pariah in the musical world: He’s hired Fetty Wap to perform at his company’s Christmas party.\u003c/p>\n\u003cp>It wasn’t hard, he told Bloomberg: “At the right price, these guys basically will do anything.”\u003c/p>\n\u003cfigure id=\"attachment_11149507\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg\" alt=\"AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying "Pharma greed" during a protest Oct. 1. Shkreli's company bought an antiparasitic drug and increased the price 5,000 percent.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11149507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1920x1319.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-960x659.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying “Pharma greed” during a protest Oct. 1. Shkreli’s company bought an antiparasitic drug and increased the price 5,000 percent. \u003ccite>(Photo: Craig Ruttle/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But back to the Wu-Tang Clan. Bloomberg Business notes that Shkreli is a fan, of sorts:\u003c/p>\n\u003cblockquote>\n\u003cp>“Shkreli was taken by the Wu-Tang song \u003cem>C.R.E.A.M.\u003c/em>, which stands for ‘Cash Rules Everything Around Me.’ It includes the often-repeated phrase ‘Dolla dolla bill, y’all!’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>It wasn’t fandom that drove his purchase, though. Shkreli liked the idea that owning the album would give him an in with celebrities and rappers, he told Bloomberg.\u003c/p>\n\u003cp>He didn’t listen to excerpts meant to verify the purchase — he had an employee check for him. And he reportedly still hasn’t played the album. He tells Bloomberg Business he might consider putting it on … if Taylor Swift wants to come over and hear it with him.\u003c/p>\n\u003cp>Some on social media have suggested another strategy for the pharma exec:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read the whole story \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">at Bloomberg\u003c/a>.\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sole+Copy+Of+Latest+Wu-Tang+Album+Was+Sold+To+%27Pharma+Bro%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sweden Gives 'We Should All Be Feminists' to Every 16-Year-Old Student",
"headTitle": "Sweden Gives ‘We Should All Be Feminists’ to Every 16-Year-Old Student | KQED",
"content": "\u003cp>Sweden has distributed author Chimamanda Ngozi Adichie’s feminist manifesto, “We Should All Be Feminists,” to every 16-year-old student in the country.\u003c/p>\n\u003cp>The Swedish Women’s Lobby partnered with other groups to launch the initiative on Dec. 1, in the hopes of \u003ca href=\"http://sverigeskvinnolobby.se/en/we-should-all-be-feminists-chimamanda-ngozi-adichies-book-is-distributed-as-a-gift-to-all-swedish-high-schools/\" target=\"_blank\" rel=\"noopener\">sparking dialogue\u003c/a> about feminism in \u003ca href=\"http://reports.weforum.org/global-gender-gap-report-2014/rankings/\" target=\"_blank\" rel=\"noopener\">one of the most gender-equal countries\u003c/a> in the world.\u003c/p>\n\u003cp>“This is the book that I wish all of my male classmates would have read when I was 16,” Clara Berglund, president of the Swedish Women’s Lobby, \u003ca href=\"http://www.theguardian.com/books/2015/dec/04/every-16-year-old-in-sweden-to-receive-copy-of-we-should-all-be-feminists\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>. “It feels so important to contribute to this project. It is a gift to all second-grade high-school students, but it is also a gift to ourselves and future generations.”\u003c/p>\n\u003cp>The give-away was wholly uncontroversial in Sweden.\u003c/p>\n\u003cp>“Gender equality is one of the cornerstones of Swedish society,” Sweden’s \u003ca href=\"https://sweden.se/society/gender-equality-in-sweden/\" target=\"_blank\" rel=\"noopener\">official gender equality website\u003c/a> says. In a country where “gender mainstreaming” is a key governmental strategy to ensuring equality, 12 of 24 government ministers are currently women, and the law mandates that both parents get 480 days of parental leave, the distribution of a feminist pamphlet barely registered on Swedes’ radar. (In fact, several of my Swedish friends, one a journalist, didn’t even know about the project.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To the extent that it was noticed, the initiative was met with praise. Although, one Swedish columnist offered mild criticism, writing that Swedish high school students, reared with the ideals of feminism, may find the \u003ca href=\"http://www.svd.se/varfor-delar-man-ut-daterad-feminism-till-eleverna\">book’s contents old-fashioned\u003c/a>.\u003c/p>\n\u003cp>Adiche, who is from Nigeria and lives in the U.S., based the essay on her \u003ca href=\"https://www.youtube.com/watch?v=hg3umXU_qWc\" target=\"_blank\" rel=\"noopener\">2012 TED Talk\u003c/a> which has been viewed more than 2 million times. Even Beyonce incorporated part of the speech into \u003ca href=\"https://www.youtube.com/watch?v=IyuUWOnS9BY\" target=\"_blank\" rel=\"noopener\">her song “Flawless.\u003c/a>”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hg3umXU_qWc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the essay, Adichie writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Some people ask: ‘Why the word feminist? Why not just say you are a believer in human rights, or something like that?’ Because that would be dishonest. Feminism is, of course, part of human rights in general – but to choose to use the vague expression human rights is to deny the specific and particular problem of gender. It would be a way of pretending that it was not women who have, for centuries, been excluded. It would be a way of denying that the problem of gender targets women. That the problem was not about being human, but specifically about being a female human. For centuries, the world divided human beings into two groups and then proceeded to exclude and oppress one group. It is only fair that the solution to the problem acknowledge that.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sweden+Gives+%27We+Should+All+Be+Feminists%27+To+Every+16-Year-Old+Student&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sweden has distributed author Chimamanda Ngozi Adichie’s feminist manifesto, “We Should All Be Feminists,” to every 16-year-old student in the country.\u003c/p>\n\u003cp>The Swedish Women’s Lobby partnered with other groups to launch the initiative on Dec. 1, in the hopes of \u003ca href=\"http://sverigeskvinnolobby.se/en/we-should-all-be-feminists-chimamanda-ngozi-adichies-book-is-distributed-as-a-gift-to-all-swedish-high-schools/\" target=\"_blank\" rel=\"noopener\">sparking dialogue\u003c/a> about feminism in \u003ca href=\"http://reports.weforum.org/global-gender-gap-report-2014/rankings/\" target=\"_blank\" rel=\"noopener\">one of the most gender-equal countries\u003c/a> in the world.\u003c/p>\n\u003cp>“This is the book that I wish all of my male classmates would have read when I was 16,” Clara Berglund, president of the Swedish Women’s Lobby, \u003ca href=\"http://www.theguardian.com/books/2015/dec/04/every-16-year-old-in-sweden-to-receive-copy-of-we-should-all-be-feminists\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>. “It feels so important to contribute to this project. It is a gift to all second-grade high-school students, but it is also a gift to ourselves and future generations.”\u003c/p>\n\u003cp>The give-away was wholly uncontroversial in Sweden.\u003c/p>\n\u003cp>“Gender equality is one of the cornerstones of Swedish society,” Sweden’s \u003ca href=\"https://sweden.se/society/gender-equality-in-sweden/\" target=\"_blank\" rel=\"noopener\">official gender equality website\u003c/a> says. In a country where “gender mainstreaming” is a key governmental strategy to ensuring equality, 12 of 24 government ministers are currently women, and the law mandates that both parents get 480 days of parental leave, the distribution of a feminist pamphlet barely registered on Swedes’ radar. (In fact, several of my Swedish friends, one a journalist, didn’t even know about the project.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To the extent that it was noticed, the initiative was met with praise. Although, one Swedish columnist offered mild criticism, writing that Swedish high school students, reared with the ideals of feminism, may find the \u003ca href=\"http://www.svd.se/varfor-delar-man-ut-daterad-feminism-till-eleverna\">book’s contents old-fashioned\u003c/a>.\u003c/p>\n\u003cp>Adiche, who is from Nigeria and lives in the U.S., based the essay on her \u003ca href=\"https://www.youtube.com/watch?v=hg3umXU_qWc\" target=\"_blank\" rel=\"noopener\">2012 TED Talk\u003c/a> which has been viewed more than 2 million times. Even Beyonce incorporated part of the speech into \u003ca href=\"https://www.youtube.com/watch?v=IyuUWOnS9BY\" target=\"_blank\" rel=\"noopener\">her song “Flawless.\u003c/a>”\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/hg3umXU_qWc'\n title='//www.youtube.com/embed/hg3umXU_qWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In the essay, Adichie writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Some people ask: ‘Why the word feminist? Why not just say you are a believer in human rights, or something like that?’ Because that would be dishonest. Feminism is, of course, part of human rights in general – but to choose to use the vague expression human rights is to deny the specific and particular problem of gender. It would be a way of pretending that it was not women who have, for centuries, been excluded. It would be a way of denying that the problem of gender targets women. That the problem was not about being human, but specifically about being a female human. For centuries, the world divided human beings into two groups and then proceeded to exclude and oppress one group. It is only fair that the solution to the problem acknowledge that.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sweden+Gives+%27We+Should+All+Be+Feminists%27+To+Every+16-Year-Old+Student&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Janis%3A+Little+Girl+Blue%27+Goes+Beyond+Cliches+Of+A+Sad+Childhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Janis%3A+Little+Girl+Blue%27+Goes+Beyond+Cliches+Of+A+Sad+Childhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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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",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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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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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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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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"order": 18
},
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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/",
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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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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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",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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