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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? 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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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"title": "Sole Copy of Latest Wu-Tang Album was Sold To 'Pharma Bro'",
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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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"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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"content": "\u003cp>Answering one kind of madness with another, Spike Lee’s \u003cem>Chi-Raq\u003c/em> approaches the plague of gun violence in Chicago with a staggering disregard for propriety. Just the title alone — a reference to a fatality rate that’s exceeded that of American soldiers fighting in Iraq and Afghanistan over the same period — was enough to \u003ca href=\"http://www.huffingtonpost.com/2015/04/17/spike-lee-chiraq-backlash-mayor-rahm-emanuel_n_7089574.html\" target=\"_blank\" rel=\"noopener\">raise the ire\u003c/a> of the city’s image-conscious elite, but that’s merely a throat-clearing for the operatic fantasia to come. With Aristophanes’ \u003cem>Lysistrata\u003c/em> serving as an audacious starting point, Lee’s musical/satire/feature-length editorial lurches from genre to genre and tone to tone with as much freewheeling spontaneity as possible for a film where the dialogue is almost entirely in verse. It’s a teeming repository of idea — by turns somber and profane, whimsical and hectoring, inspired and inexplicable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rGTuuj-aTJs\u003c/p>\n\u003cp>This is how Spike Lee starts a conversation. 26 years later, he’s still Mookie, tossing the garbage can through the Sal’s Famous window in \u003cem>Do The Right Thing\u003c/em>, fearlessly provoking a response. The \u003cem>click-clack\u003c/em> of reaction pieces can be heard over virtually every scene in \u003cem>Chi-Raq\u003c/em> — and from all over the political spectrum, too — and Lee hasn’t considered his arguments rigorously enough for the film to survive them all. But he wants the audience to think about the cycle of violence on Chicago’s South Side and the array of contributing factors that perpetuate it. At the same time, he’s made a thoroughly unruly work of art that sets the realities of the streets against the artifice of Greek theater and a cartoon gangland that recalls \u003cem>The Warriors\u003c/em>.\u003c/p>\n\u003cp>Reaching back to Lee’s three earliest films, \u003cem>Chi-Raq\u003c/em> could be described as a fusion of the dodgy sexual politics of \u003cem>She’s Gotta Have It\u003c/em>, the music and intra-racial disputes of \u003cem>School Daze\u003c/em>, and all-points sermonizing of \u003cem>Do The Right Thing\u003c/em>. Co-scripting with Kevin Willmott — whose brilliant mockumentary \u003cem>C.S.A: The Confederate States of America\u003c/em> imagines what might have happened if the South won the Civil War — Lee structures the film around Aristophanes’ outrageous premise of sex as a leverage for peace. The electric Teyonah Parris, previously seen in \u003cem>Dear White People\u003c/em>, stars as Lysistrata, a beautiful woman who takes decisive action after witnessing a pair of shootings.\u003c/p>\n\u003cp>Lysistrata’s boyfriend, Demetrius Dupree (Nick Cannon), who raps under the name “Chi-Raq,” heads up a purple-clad gang called the Spartans, and he looks for revenge after Cyclops (Wesley Snipes) and the rival Trojans, wearing orange, open fire during one of his club shows. When a stray Spartan bullet fells an 11-year-old girl and Lysistrata sees the anguish of the child’s mother (Jennifer Hudson, whose own personal tragedies are brought to the surface), she persuades the wives and girlfriends of gang members, as well as other women in the community, to withhold sex until the men come to their senses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Samuel L. Jackson turns up as Dolmedes, the one-man Greek chorus who introduces the verse and ties the disparate story threads together, and John Cusack and Angela Bassett both do vital work as an activist priest and an intellectual, respectively, who lend their voices to the cause. Among the root causes batted around are the macho intransigence of gang leaders, faulty and corrupt institutions, mass incarceration, high unemployment, and poverty, and Lee tosses in up-to-the-minute talk about Sandra Bland and the church shooting in Charleston, South Carolina. “THIS IS AN EMERGENCY” scream the opening titles in big bold letters, and \u003cem>Chi-Raq\u003c/em> seeks to stay right in the moment.\u003c/p>\n\u003cp>Lee’s compulsion to jam every idea he has into the frame gives \u003cem>Chi-Raq\u003c/em> an instability that often sacrifices coherence for vitality. Though \u003cem>Lysistrata\u003c/em> is a satire, Lee’s film uses it mainly as a conceptual hook, so elements that are completely absurd and outrageous, like Lysistrata’s bizarre encounter with a neo-Confederate officer, are juxtaposed with scenes where Cusack and Bassett sound off earnestly about the issues of the day. They may share the same subject, but they don’t share the movie that comfortably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then again, a little misbehavior is the point. The fantasy and realism of \u003cem>Chi-Raq\u003c/em> may go together like plaids and stripes, but Lee isn’t one to let perfect be the enemy of good. If nothing else, the film asserts the value of trying something and failing rather than retreating to safe spaces. It turns candor into the highest possible virtue.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Answering one kind of madness with another, Spike Lee’s \u003cem>Chi-Raq\u003c/em> approaches the plague of gun violence in Chicago with a staggering disregard for propriety. Just the title alone — a reference to a fatality rate that’s exceeded that of American soldiers fighting in Iraq and Afghanistan over the same period — was enough to \u003ca href=\"http://www.huffingtonpost.com/2015/04/17/spike-lee-chiraq-backlash-mayor-rahm-emanuel_n_7089574.html\" target=\"_blank\" rel=\"noopener\">raise the ire\u003c/a> of the city’s image-conscious elite, but that’s merely a throat-clearing for the operatic fantasia to come. With Aristophanes’ \u003cem>Lysistrata\u003c/em> serving as an audacious starting point, Lee’s musical/satire/feature-length editorial lurches from genre to genre and tone to tone with as much freewheeling spontaneity as possible for a film where the dialogue is almost entirely in verse. It’s a teeming repository of idea — by turns somber and profane, whimsical and hectoring, inspired and inexplicable.\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/rGTuuj-aTJs'\n title='//www.youtube.com/embed/rGTuuj-aTJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is how Spike Lee starts a conversation. 26 years later, he’s still Mookie, tossing the garbage can through the Sal’s Famous window in \u003cem>Do The Right Thing\u003c/em>, fearlessly provoking a response. The \u003cem>click-clack\u003c/em> of reaction pieces can be heard over virtually every scene in \u003cem>Chi-Raq\u003c/em> — and from all over the political spectrum, too — and Lee hasn’t considered his arguments rigorously enough for the film to survive them all. But he wants the audience to think about the cycle of violence on Chicago’s South Side and the array of contributing factors that perpetuate it. At the same time, he’s made a thoroughly unruly work of art that sets the realities of the streets against the artifice of Greek theater and a cartoon gangland that recalls \u003cem>The Warriors\u003c/em>.\u003c/p>\n\u003cp>Reaching back to Lee’s three earliest films, \u003cem>Chi-Raq\u003c/em> could be described as a fusion of the dodgy sexual politics of \u003cem>She’s Gotta Have It\u003c/em>, the music and intra-racial disputes of \u003cem>School Daze\u003c/em>, and all-points sermonizing of \u003cem>Do The Right Thing\u003c/em>. Co-scripting with Kevin Willmott — whose brilliant mockumentary \u003cem>C.S.A: The Confederate States of America\u003c/em> imagines what might have happened if the South won the Civil War — Lee structures the film around Aristophanes’ outrageous premise of sex as a leverage for peace. The electric Teyonah Parris, previously seen in \u003cem>Dear White People\u003c/em>, stars as Lysistrata, a beautiful woman who takes decisive action after witnessing a pair of shootings.\u003c/p>\n\u003cp>Lysistrata’s boyfriend, Demetrius Dupree (Nick Cannon), who raps under the name “Chi-Raq,” heads up a purple-clad gang called the Spartans, and he looks for revenge after Cyclops (Wesley Snipes) and the rival Trojans, wearing orange, open fire during one of his club shows. When a stray Spartan bullet fells an 11-year-old girl and Lysistrata sees the anguish of the child’s mother (Jennifer Hudson, whose own personal tragedies are brought to the surface), she persuades the wives and girlfriends of gang members, as well as other women in the community, to withhold sex until the men come to their senses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Samuel L. Jackson turns up as Dolmedes, the one-man Greek chorus who introduces the verse and ties the disparate story threads together, and John Cusack and Angela Bassett both do vital work as an activist priest and an intellectual, respectively, who lend their voices to the cause. Among the root causes batted around are the macho intransigence of gang leaders, faulty and corrupt institutions, mass incarceration, high unemployment, and poverty, and Lee tosses in up-to-the-minute talk about Sandra Bland and the church shooting in Charleston, South Carolina. “THIS IS AN EMERGENCY” scream the opening titles in big bold letters, and \u003cem>Chi-Raq\u003c/em> seeks to stay right in the moment.\u003c/p>\n\u003cp>Lee’s compulsion to jam every idea he has into the frame gives \u003cem>Chi-Raq\u003c/em> an instability that often sacrifices coherence for vitality. Though \u003cem>Lysistrata\u003c/em> is a satire, Lee’s film uses it mainly as a conceptual hook, so elements that are completely absurd and outrageous, like Lysistrata’s bizarre encounter with a neo-Confederate officer, are juxtaposed with scenes where Cusack and Bassett sound off earnestly about the issues of the day. They may share the same subject, but they don’t share the movie that comfortably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then again, a little misbehavior is the point. The fantasy and realism of \u003cem>Chi-Raq\u003c/em> may go together like plaids and stripes, but Lee isn’t one to let perfect be the enemy of good. If nothing else, the film asserts the value of trying something and failing rather than retreating to safe spaces. It turns candor into the highest possible virtue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'A Charlie Brown Christmas' Turns 50, Network Celebrates",
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"content": "\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>[contextly_sidebar id=”Xb1zRVabgdx7TjqNYtpKpOUNoGELDhGD”]\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Vital And Tear-Jerking, 'Creed' Is The Best Rocky Movie Since 'Rocky'",
"headTitle": "Vital And Tear-Jerking, ‘Creed’ Is The Best Rocky Movie Since ‘Rocky’ | KQED",
"content": "\u003cp>Remember \u003cem>Rocky?\u003c/em> That cornpone boxing movie from 40 years ago starring (and written by) that oiled-up, headband-wearing buffoon who talks funny? The one that stole Best Picture away from \u003cem>Network\u003c/em>, \u003cem>All the President’s Men\u003c/em>, \u003cem>Taxi Driver\u003c/em>, and Hal Ashby’s rather more obscure Woody Guthrie biopic \u003cem>Bound for Glory\u003c/em>?\u003c/p>\n\u003cp>Okay, on that last point, you’re technically correct; on the rest, you’re dead wrong. \u003cem>Rocky\u003c/em> is one of those movies that’s been retroactively devalued by its sequels. It’s somber and observant, more about the day-to-day of a shy Philadelphia hood with a crush on the girl at the pet store than about boxing for the first hour of its 119 minutes. Here’s the other thing you might not recall: Rocky \u003cem>loses\u003c/em> his fight with Apollo Creed at the end. He “merely” survives the 15-round crucible, proving to himself he’s not a coward or a quitter. Perhaps because of Bill Conti’s intrepid score, \u003cem> Rocky\u003c/em>‘s inspirational qualities have tended to overshadow its existential ones, but they’re equally vital.\u003c/p>\n\u003cp>Of its sequels, only 2006’s \u003cem>Rocky Balboa\u003c/em> had humility and brio in something like the same proportions as the original. Arriving 30 years after we first saw Rocky huff his way up the steps of the Philadelphia Museum of Art, it was a meditation on loss and mortality and raging against the dying of the light (though writer-director-star Sylvester Stallone was kind enough to leave Dylan Thomas unmentioned). As Rocky puts it in the marvelous new \u003cem>Creed\u003c/em>: “Time takes everybody out. Time’s undefeated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uv554B7YHk4\u003c/p>\n\u003cp>He’s speaking to Adonis Johnson (Michael B. Jordan), the illegitimate son of his opponent-turned-pal Apollo Creed, who died in the early rounds of 1985’s \u003cem>Rocky IV\u003c/em>. (You’re an educated person; surely you’ve seen these movies and read them in the original Greek.) In a prologue set in 1998, Creed’s well-off widow (Phylicia Rashad) rescues the combative young Adonis from a Los Angeles juvenile detention center and adopts him. In the present day, “Donny” is a college-educated man with a good job and a bright future. But he is his absentee father’s son, competing in unsanctioned fights in Mexico on the sly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he decides to go pro, he can’t get anyone to train him. The last 15 years of his life have been luxe; no one, including his adopted mom, thinks he’s hungry enough to survive in the ring. So he packs himself off to the City of Brotherly Love to look up Rocky. Donny never knew his old man, but so powerful is his craving for one that right away he’s calling Rocky “Unc,” as in Uncle — which feels about as natural as if he were addressing this old white dude he’s just met as “Italian Stallion.” (This is \u003cem>Creed\u003c/em>‘s hardest-to-swallow turn. If you can get past it, you’ll probably love the movie as much as I did.)\u003c/p>\n\u003cp>Rocky wants no part of this. When he’s not at the little Italian restaurant he named for his wife Adrian, who succumbed to cancer sometime after \u003cem>Rocky V\u003c/em>, he’s at the cemetery where she and his brother-in-law Paulie are buried, reading the paper aloud to their headstones. He’s at peace knowing his life will follow this humble pattern until it ends. But not \u003cem>completely\u003c/em> at peace, because — surprise! — eventually he agrees to give Donny a few tips.\u003c/p>\n\u003cp>You wonder if a similar lobbying campaign took place off-screen. This is the first \u003cem>Rocky\u003c/em> flick Stallone neither wrote nor directed. He’s entrusted his beloved creation to Ryan Coogler, the 29-year-old black filmmaker whose sole, stunning prior feature was \u003cem>Fruitvale Station\u003c/em>, a fact-based drama about the 2009 killing of an unarmed-and-handcuffed black man named Oscar Grant by a white police officer in Oakland, California. (Jordan played Grant.) At first glance, this looks like yet another case of a promising artist with a strong but still-developing voice getting drafted into the Franchise Wars…\u003c/p>\n\u003cp>…which I’d probably wring my hands over a whole lot more if \u003cem>Creed\u003c/em> were not so against-all-odds wonderful. It’s a warm-hearted, patient, unabashedly tear-jerking drama, one that gets its juice not from the training montages (though they’re stirring) or the bouts (though they’re convincingly performed and excitingly shot) but from the remarkable chemistry between Jordan and Stallone. Tessa Thompson is great, too, as a musician suffering from degenerative irony — sorry, I mean “gradual hearing loss.” But her nicely slow-moving courtship with Jordan is only the movie’s \u003cem>secondary\u003c/em> love affair.\u003c/p>\n\u003cp>Jordan is already much more famous than Stallone was when \u003cem>Rocky\u003c/em> snagged him a Best Actor nomination in 1976. His character, Donny, is handsome, educated, and brimming with confidence — Rocky’s opposite in every respect save for his drive to prove himself.\u003c/p>\n\u003cp>The alter ego that gave Stallone a career has always been the one that most resembles him offscreen. Just like Rocky Balboa, Stallone became a huge, unlikely star, but handled his success poorly. He allowed his vanity to speak louder than his talent. For a long time, he kept trying, writing and directing ambitious clunkers in between \u003cem>Rocky\u003c/em> and \u003cem>Rambo\u003c/em> sequels. But audiences never embraced his more challenging stuff. Eventually he threw up his hands and made only films he must’ve \u003cem>known\u003c/em> were garbage, for years on end.\u003c/p>\n\u003cp>While \u003cem>Creed\u003c/em> is not exactly Stallone’s \u003cem>Unforgiven\u003c/em>, it certainly benefits from the weariness and regret in his face, which somehow seems at last to have wrinkled away the strange uncanny-valley aspect of his appearance that has fueled so much speculation about plastic surgery. Whether the credit goes to the director or the actor or both, this is the performance of Stallone’s career, one in which that age-defying orange body stays covered up but his sadness is in full view.\u003c/p>\n\u003cp>While one hopes Coogler won’t stay in franchiseville after \u003cem>Creed,\u003c/em> he can feel good about having made an honorable, heart-tugging crowd-pleaser that should attract a more diverse crowd to the series while satisfying older fans with the best Rocky movie since \u003cem>Rocky\u003c/em>. The last half-year has seen films like \u003cem>Jurassic World\u003c/em>, \u003cem>Terminator: Genisys\u003c/em>, and \u003cem>Spectre\u003c/em> so busy paying homage to their forebears that any new tricks they might have get upstaged. Coogler perfectly threads the needle between innovation and reverence, keeping the familiar \u003cem>Rocky\u003c/em> signposts — the Conti theme, the training montages, those museum steps — present, but recontextualized.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He puts his own stamp on the series’ obligatory scenes with a training sequence that is almost a dance number, wherein neighborhood kids ride their motorbikes and four-wheelers alongside Donny as he’s running. They form a circle around him as he leaps into the air, imagining his victory. There’s a lot of movie left after this, but the emotional climax is right here. They’ve always peaked early, these \u003cem>Rocky\u003c/em> pictures; with \u003cem>Creed\u003c/em>, the series peaks again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember \u003cem>Rocky?\u003c/em> That cornpone boxing movie from 40 years ago starring (and written by) that oiled-up, headband-wearing buffoon who talks funny? The one that stole Best Picture away from \u003cem>Network\u003c/em>, \u003cem>All the President’s Men\u003c/em>, \u003cem>Taxi Driver\u003c/em>, and Hal Ashby’s rather more obscure Woody Guthrie biopic \u003cem>Bound for Glory\u003c/em>?\u003c/p>\n\u003cp>Okay, on that last point, you’re technically correct; on the rest, you’re dead wrong. \u003cem>Rocky\u003c/em> is one of those movies that’s been retroactively devalued by its sequels. It’s somber and observant, more about the day-to-day of a shy Philadelphia hood with a crush on the girl at the pet store than about boxing for the first hour of its 119 minutes. Here’s the other thing you might not recall: Rocky \u003cem>loses\u003c/em> his fight with Apollo Creed at the end. He “merely” survives the 15-round crucible, proving to himself he’s not a coward or a quitter. Perhaps because of Bill Conti’s intrepid score, \u003cem> Rocky\u003c/em>‘s inspirational qualities have tended to overshadow its existential ones, but they’re equally vital.\u003c/p>\n\u003cp>Of its sequels, only 2006’s \u003cem>Rocky Balboa\u003c/em> had humility and brio in something like the same proportions as the original. Arriving 30 years after we first saw Rocky huff his way up the steps of the Philadelphia Museum of Art, it was a meditation on loss and mortality and raging against the dying of the light (though writer-director-star Sylvester Stallone was kind enough to leave Dylan Thomas unmentioned). As Rocky puts it in the marvelous new \u003cem>Creed\u003c/em>: “Time takes everybody out. Time’s undefeated.”\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/Uv554B7YHk4'\n title='//www.youtube.com/embed/Uv554B7YHk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s speaking to Adonis Johnson (Michael B. Jordan), the illegitimate son of his opponent-turned-pal Apollo Creed, who died in the early rounds of 1985’s \u003cem>Rocky IV\u003c/em>. (You’re an educated person; surely you’ve seen these movies and read them in the original Greek.) In a prologue set in 1998, Creed’s well-off widow (Phylicia Rashad) rescues the combative young Adonis from a Los Angeles juvenile detention center and adopts him. In the present day, “Donny” is a college-educated man with a good job and a bright future. But he is his absentee father’s son, competing in unsanctioned fights in Mexico on the sly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he decides to go pro, he can’t get anyone to train him. The last 15 years of his life have been luxe; no one, including his adopted mom, thinks he’s hungry enough to survive in the ring. So he packs himself off to the City of Brotherly Love to look up Rocky. Donny never knew his old man, but so powerful is his craving for one that right away he’s calling Rocky “Unc,” as in Uncle — which feels about as natural as if he were addressing this old white dude he’s just met as “Italian Stallion.” (This is \u003cem>Creed\u003c/em>‘s hardest-to-swallow turn. If you can get past it, you’ll probably love the movie as much as I did.)\u003c/p>\n\u003cp>Rocky wants no part of this. When he’s not at the little Italian restaurant he named for his wife Adrian, who succumbed to cancer sometime after \u003cem>Rocky V\u003c/em>, he’s at the cemetery where she and his brother-in-law Paulie are buried, reading the paper aloud to their headstones. He’s at peace knowing his life will follow this humble pattern until it ends. But not \u003cem>completely\u003c/em> at peace, because — surprise! — eventually he agrees to give Donny a few tips.\u003c/p>\n\u003cp>You wonder if a similar lobbying campaign took place off-screen. This is the first \u003cem>Rocky\u003c/em> flick Stallone neither wrote nor directed. He’s entrusted his beloved creation to Ryan Coogler, the 29-year-old black filmmaker whose sole, stunning prior feature was \u003cem>Fruitvale Station\u003c/em>, a fact-based drama about the 2009 killing of an unarmed-and-handcuffed black man named Oscar Grant by a white police officer in Oakland, California. (Jordan played Grant.) At first glance, this looks like yet another case of a promising artist with a strong but still-developing voice getting drafted into the Franchise Wars…\u003c/p>\n\u003cp>…which I’d probably wring my hands over a whole lot more if \u003cem>Creed\u003c/em> were not so against-all-odds wonderful. It’s a warm-hearted, patient, unabashedly tear-jerking drama, one that gets its juice not from the training montages (though they’re stirring) or the bouts (though they’re convincingly performed and excitingly shot) but from the remarkable chemistry between Jordan and Stallone. Tessa Thompson is great, too, as a musician suffering from degenerative irony — sorry, I mean “gradual hearing loss.” But her nicely slow-moving courtship with Jordan is only the movie’s \u003cem>secondary\u003c/em> love affair.\u003c/p>\n\u003cp>Jordan is already much more famous than Stallone was when \u003cem>Rocky\u003c/em> snagged him a Best Actor nomination in 1976. His character, Donny, is handsome, educated, and brimming with confidence — Rocky’s opposite in every respect save for his drive to prove himself.\u003c/p>\n\u003cp>The alter ego that gave Stallone a career has always been the one that most resembles him offscreen. Just like Rocky Balboa, Stallone became a huge, unlikely star, but handled his success poorly. He allowed his vanity to speak louder than his talent. For a long time, he kept trying, writing and directing ambitious clunkers in between \u003cem>Rocky\u003c/em> and \u003cem>Rambo\u003c/em> sequels. But audiences never embraced his more challenging stuff. Eventually he threw up his hands and made only films he must’ve \u003cem>known\u003c/em> were garbage, for years on end.\u003c/p>\n\u003cp>While \u003cem>Creed\u003c/em> is not exactly Stallone’s \u003cem>Unforgiven\u003c/em>, it certainly benefits from the weariness and regret in his face, which somehow seems at last to have wrinkled away the strange uncanny-valley aspect of his appearance that has fueled so much speculation about plastic surgery. Whether the credit goes to the director or the actor or both, this is the performance of Stallone’s career, one in which that age-defying orange body stays covered up but his sadness is in full view.\u003c/p>\n\u003cp>While one hopes Coogler won’t stay in franchiseville after \u003cem>Creed,\u003c/em> he can feel good about having made an honorable, heart-tugging crowd-pleaser that should attract a more diverse crowd to the series while satisfying older fans with the best Rocky movie since \u003cem>Rocky\u003c/em>. The last half-year has seen films like \u003cem>Jurassic World\u003c/em>, \u003cem>Terminator: Genisys\u003c/em>, and \u003cem>Spectre\u003c/em> so busy paying homage to their forebears that any new tricks they might have get upstaged. Coogler perfectly threads the needle between innovation and reverence, keeping the familiar \u003cem>Rocky\u003c/em> signposts — the Conti theme, the training montages, those museum steps — present, but recontextualized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4URogrXiKsI\u003c/p>\n\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\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/4URogrXiKsI'\n title='//www.youtube.com/embed/4URogrXiKsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>CNN aired \u003cem>The Hunting Ground — \u003c/em>a controversial documentary about campus sexual assaults — despite the threat of legal action.\u003c/p>\n\u003cp>A lawyer for Tampa Bay Buccaneers quarterback Jameis Winston threatened to sue CNN if it aired the film on Sunday night. It ran as scheduled.\u003c/p>\n\u003cp>In the film, Erica Kinsman accuses Winston of committing sexual assault during his time on the football team at Florida State University, a claim his lawyer says is defamatory.\u003c/p>\n\u003cp>In a letter to CNN first obtained by \u003cem>The Hollywood Reporter\u003c/em>, lawyer John Boudet says the film “manipulates, misstates or simply omits facts to present a false narrative”:\u003c/p>\n\u003cblockquote>\n\u003cp>“We urge CNN to reconsider the reckless decision to proceed with the broadcast of this deeply-flawed documentary in the face of the overwhelming evidence the film’s producers consciously and intentionally failed to adhere to any accepted journalistic standards.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The documentary, which was shown at the Sundance Film Festival, argues women are at serious risk of sexual assault on college campuses and many college administrators have repeatedly tried to sweep the problem under the rug to avoid public relations problems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kinsman has filed a lawsuit against Winston, accusing him of forcible rape in 2012. He was not charged by police in Florida and is now starting for the Buccaneers.\u003c/p>\n\u003cp>Kinsman’s lawyer, John Clune, issued a statement over the weekend saying Winston had launched a “PR battle”:\u003c/p>\n\u003cblockquote>\n\u003cp>“His latest attack is an attempt to revive his lawyers’ media themes and, as expected, shows no understanding of rape trauma and misrepresents the actual evidence. More importantly, Mr. Winston should get used to the rape allegations against him because film or no film, they aren’t going away.”\u003c/p>\n\u003c/blockquote>\n\u003cp>CNN made clear it would go ahead with plans to air the documentary.\u003c/p>\n\u003cp>“CNN is proud to provide a platform for a film that has undeniably played a significant role in advancing the national conversation about sexual assault on college campuses,” a network spokeswoman told \u003ca href=\"http://www.nytimes.com/2015/11/23/business/cnn-to-show-sex-assault-film-despite-legal-threat.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=second-column-region®ion=top-news&WT.nav=top-news&_r=0\">The New York Times\u003c/a>. “We are confident that both the film and our extensive associated coverage give this important issue the full and fair treatment it deserves.”\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em> has also been criticized for its depiction of an incident at Harvard Law School, in which a student was accused of assaulting two women.\u003c/p>\n\u003cp>\u003ca href=\"https://kcjohnson.files.wordpress.com/2013/08/hls-pressrelease.pdf\">A letter\u003c/a> signed by 19 Harvard Law School faculty members said the film “provides a seriously false picture both of the general sexual assault phenomenon at universities and of our student,” noting a grand jury declined to indict him on the most serious sexual assault charges brought against him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The documentary makers say they \u003ca href=\"http://www.thehuntinggroundfilm.com/2015/11/response-to-statement-by-19-harvard-law-professors/\">stand behind the case\u003c/a> as they presented it. \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=CNN+Airs+Documentary+on+Sexual+Assault%2C+Despite+Legal+Threats&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Buccaneers quarterback Jameis Winston said he'd sue if the network aired the controversial documentary \u003cem>The Hunting Ground,\u003c/em> which features\u003cem> \u003c/em>assault allegations against him. It aired Sunday night.",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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