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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twitter has started taking down jokes for copyright infringement. The removals were first spotted by \u003ca href=\"https://twitter.com/plagiarismbad/status/624926843322396672\">@PlagiarismBad\u003c/a>, which traced the takedown notices to Olga Lexell, a freelance writer in Los Angeles.\u003c/p>\n\u003cp>Lexell, whose bio describes her as a freelance writer, \u003ca href=\"https://twitter.com/runolgarun/status/624971697075019776/photo/1\" target=\"_blank\" rel=\"noopener\">confirmed that she had asked Twitter to take down jokes\u003c/a>. In her post, Lexell says she makes her living writing jokes, and that the users who had tweeted them — many of them spam accounts that “re-post tons of other people’s jokes every day” — did not give her credit.\u003c/p>\n\u003cp>But Lexell may not have a good copyright claim, according to \u003ca href=\"http://www.thompsoncoburn.com/people/find-a-professional/james-burger.aspx\">Jim Burger, a Washington, D.C.-based copyright attorney\u003c/a>.\u003c/p>\n\u003cp>“You can copyright a joke, but it’s not a very strong copyright,” he says. “And a lot of jokes are derivative of other jokes, so I think you would have a hard time defending your copyright.”\u003c/p>\n\u003cp>Christopher Jon Sprigman, a law professor at New York University \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">who has written about jokes and copyright\u003c/a>, agrees. He says you can’t copyright an idea, only a way of expression; if a joke can only be expressed in a few ways you probably can’t get a copyright on it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among Lexell’s reposted jokes that were taken down by Twitter: “Saw someone spill their high-end juice cleanse all over the sidewalk and now I know God is on my side.”\u003c/p>\n\u003cp>Sprigman says it’s debatable whether that joke can be copyrighted. Sometimes, he says, a joke is just in the zeitgeist of the moment.\u003c/p>\n\u003cp>Take the case of Carlos Mencia, who made a joke during an appearance on Comedy Central about plans to build a fence along the southern U.S. border to keep Mexicans from entering the U.S. illegally. Mencia quipped, “Um, who’s going to build it?”\u003c/p>\n\u003cp>Comedian Ari Shaffir claimed Mencia stole the joke from him, and cited earlier recordings of himself making the joke — but it turned out that \u003ca href=\"http://www.dead-frog.com/blog/entry/whose_joke_is_it_ari_shaffir_carlos_mencia_dl_hughley_george_lopez\" target=\"_blank\" rel=\"noopener\">comedians D.L. Hughley and George Lopez also had told similar jokes\u003c/a>.\u003c/p>\n\u003cp>Sprigman says that, historically, the comedy community has policed itself by shaming those who steal jokes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Twitter, the accounts that had Lexell’s jokes removed can file a counter notice under the Digital Millennium Copyright Act within 10 days. But, if Lexell is right and it’s only spambot accounts stealing her jokes, they’ll just move on to finding other good lines to pilfer. \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=Twitter+Takes+Down+Unoriginal+Jokes%2C+But+All+Of+Yours+Are+Probably+Safe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Don’t call it a comeback: The grimy boxing melodrama \u003cem>Southpaw\u003c/em> is so old-fashioned and unsophisticated it’s almost new. Initiated as a remake of 1979’s sap-soaked \u003cem>The Champ\u003c/em> with Eminem in the lead role, it morphed into yet another opportunity for Jake Gyllenhaal to prove he’s a contender. When he finally gets that Oscar he so clearly covets, it’ll likely as not be a make-up award for his spooky turn as a sociopathic TV news cameraman in \u003cem>Nightcrawler\u003c/em> last year.\u003c/p>\n\u003cp>Gyllenhaal isn’t quite that good in \u003cem>Southpaw,\u003c/em> but he’s still pretty great. The orphan-turned-ex-con-turned-light-heavyweight champion Gyllenhaal plays is named Billy Hope — a sign of the degree of subtlety in \u003cem>Sons of Anarchy\u003c/em> creator Kurt Sutter’s screenplay, wherein every plot turn is as telegraphed as a tomato can’s jab. I didn’t care: Enough of it felt earned to me that \u003cem>Southpaw\u003c/em> wins on points. With movies and TV inching ever closer to the meta singularity that will render all earnestness extinct, a film that doubles down on performance and dares to tell a simple story simply feels vaguely punk rock.\u003c/p>\n\u003cp>Or at least punk rock-\u003cem>era.\u003c/em> In ’70s-cinema terms, \u003cem>Southpaw\u003c/em> is a mashup of \u003cem>Rocky\u003c/em> and \u003cem>Kramer vs. Kramer — \u003c/em>though it borrows more from the latter, actually. When Billy’s wife (Rachel McAdams, trading in her \u003cem>True Detective\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ka-Bar\" target=\"_blank\" rel=\"noopener\">Ka-Bar collection\u003c/a> for a slinky dress and big hoop earrings) exits the scene, he falls into a tailspin, losing his boxing license, his manager (Curtis “50 Cent” Jackson), his fancy house, and finally, custody of his 10-year-old daughter Leila. (Oona Laurence avoids the cereal-commercial poise that makes most child actors so grating.) Billy’s need for income, so that he can convince a judge that he’s fit for fatherhood, is what sends him to the gym run by Tick Wills, who trained the only boxer ever to beat him. (Billy still got the decision, but he suspects that was because someone in his camp paid a bribe. “The fight game, you know,” he shrugs.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mh2ebPxhoLs\u003c/p>\n\u003cp>Wills is the movie’s \u003cem>other\u003c/em> bravura performance. Can it be true that the great Forest Whitaker has never played a crusty, philosophically inclined fight trainer before now? With a glass eye that doesn’t match his real one? Who is secretly a big softie who lets the neighborhood kids train for free but fines them 50 pushups for cursing? It seems impossible, and yet IMDB insists ’tis so. Whatever: There’s great pleasure to be had from watching Gyllenhaal and Whitaker play lonely, inarticulate guys trying squint and grunt — and above all, sweat — their way to revelation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie spends a lot of time alone with Billy and Leila, too, as he faithfully visits her, hoping she’ll finally speak to him. Sutter actually \u003cem>does\u003c/em> do some subtle work in these scenes, never expecting us to care about this father-daughter relationship just because. Leila is more mature and rational than Billy, and the movie is smart enough to realize that’s not funny or cute; it’s a serious problem.\u003c/p>\n\u003cp>Indeed, Billy is the most nonverbal character Gyllenhaal has ever embodied, frequently defeated by the labor of stringing sentences together. Rocky Balboa sounds like Ali at his rhyming-trash-talk peak compared to this guy. But it’s expressly because fight films emphasize discipline over eloquence that actors like Gyllenhaal — the ones who seem to crave respect even more than wealth or fame — can’t resist them.\u003c/p>\n\u003cp>Like (in chronological order) Robert De Niro, Daniel Day-Lewis, Will Smith, Mark Wahlberg and Tom Hardy before, Gyllenhaal trained hard for months to look and move like a champion. \u003cem>Southpaw’\u003c/em>s press notes insist he didn’t use a stunt double in the ring, and director Antoine Fuqua — an amateur fighter himself, though he usually makes movies about cops or soldiers — brought in HBO Boxing camera operators Todd Palladino and Rick Cypher to make the choreographed bouts look real. (David O. Russell did this in 2010’s \u003cem>The Fighter,\u003c/em> too.) Naturally, Fuqua takes advantage of the fact that these are staged fights to put his camera where it could never go in a real one. And as in every non-documentary boxing flick, the blows seem to land more cleanly and with more immediate effect than in life. Still, \u003cem>Southpaw’\u003c/em>s fights are still visceral and involving.\u003c/p>\n\u003cp>Once upon a time, physical transformations like Gyllenhaal’s — he half-starved himself for \u003cem>Nightcrawler,\u003c/em> then followed that up by making himself at least a convincing replica of an elite athlete — were rare signifiers of an actor’s commitment. Fairly or not, they feel less significant now that Hollywood has gone full-time into the superhero business, spawning an entire sub-industry devoted to making youngish men from England, Ireland, Scotland, Australia, and on rare occasions the United States of America, look like Jim Lee drawings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The difference is that playing Superman or Wolverine means making yourself look invulnerable, while vulnerability and exhaustion are what boxing movies are all about. \u003cem>Southpaw\u003c/em> sometimes carries that idea to a laughable extreme: Gyllenhaal’s face is an oozing deep-dish pizza of bruises and lacerations in \u003cem>every\u003c/em> scene, even when months are supposed to have passed since his last fight. Still, you can’t blame the guy. You’ve heard the expression that an actor’s face is his tool? Sometimes it’s his trophy, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don’t call it a comeback: The grimy boxing melodrama \u003cem>Southpaw\u003c/em> is so old-fashioned and unsophisticated it’s almost new. Initiated as a remake of 1979’s sap-soaked \u003cem>The Champ\u003c/em> with Eminem in the lead role, it morphed into yet another opportunity for Jake Gyllenhaal to prove he’s a contender. When he finally gets that Oscar he so clearly covets, it’ll likely as not be a make-up award for his spooky turn as a sociopathic TV news cameraman in \u003cem>Nightcrawler\u003c/em> last year.\u003c/p>\n\u003cp>Gyllenhaal isn’t quite that good in \u003cem>Southpaw,\u003c/em> but he’s still pretty great. The orphan-turned-ex-con-turned-light-heavyweight champion Gyllenhaal plays is named Billy Hope — a sign of the degree of subtlety in \u003cem>Sons of Anarchy\u003c/em> creator Kurt Sutter’s screenplay, wherein every plot turn is as telegraphed as a tomato can’s jab. I didn’t care: Enough of it felt earned to me that \u003cem>Southpaw\u003c/em> wins on points. With movies and TV inching ever closer to the meta singularity that will render all earnestness extinct, a film that doubles down on performance and dares to tell a simple story simply feels vaguely punk rock.\u003c/p>\n\u003cp>Or at least punk rock-\u003cem>era.\u003c/em> In ’70s-cinema terms, \u003cem>Southpaw\u003c/em> is a mashup of \u003cem>Rocky\u003c/em> and \u003cem>Kramer vs. Kramer — \u003c/em>though it borrows more from the latter, actually. When Billy’s wife (Rachel McAdams, trading in her \u003cem>True Detective\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ka-Bar\" target=\"_blank\" rel=\"noopener\">Ka-Bar collection\u003c/a> for a slinky dress and big hoop earrings) exits the scene, he falls into a tailspin, losing his boxing license, his manager (Curtis “50 Cent” Jackson), his fancy house, and finally, custody of his 10-year-old daughter Leila. (Oona Laurence avoids the cereal-commercial poise that makes most child actors so grating.) Billy’s need for income, so that he can convince a judge that he’s fit for fatherhood, is what sends him to the gym run by Tick Wills, who trained the only boxer ever to beat him. (Billy still got the decision, but he suspects that was because someone in his camp paid a bribe. “The fight game, you know,” he shrugs.)\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/Mh2ebPxhoLs'\n title='//www.youtube.com/embed/Mh2ebPxhoLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wills is the movie’s \u003cem>other\u003c/em> bravura performance. Can it be true that the great Forest Whitaker has never played a crusty, philosophically inclined fight trainer before now? With a glass eye that doesn’t match his real one? Who is secretly a big softie who lets the neighborhood kids train for free but fines them 50 pushups for cursing? It seems impossible, and yet IMDB insists ’tis so. Whatever: There’s great pleasure to be had from watching Gyllenhaal and Whitaker play lonely, inarticulate guys trying squint and grunt — and above all, sweat — their way to revelation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie spends a lot of time alone with Billy and Leila, too, as he faithfully visits her, hoping she’ll finally speak to him. Sutter actually \u003cem>does\u003c/em> do some subtle work in these scenes, never expecting us to care about this father-daughter relationship just because. Leila is more mature and rational than Billy, and the movie is smart enough to realize that’s not funny or cute; it’s a serious problem.\u003c/p>\n\u003cp>Indeed, Billy is the most nonverbal character Gyllenhaal has ever embodied, frequently defeated by the labor of stringing sentences together. Rocky Balboa sounds like Ali at his rhyming-trash-talk peak compared to this guy. But it’s expressly because fight films emphasize discipline over eloquence that actors like Gyllenhaal — the ones who seem to crave respect even more than wealth or fame — can’t resist them.\u003c/p>\n\u003cp>Like (in chronological order) Robert De Niro, Daniel Day-Lewis, Will Smith, Mark Wahlberg and Tom Hardy before, Gyllenhaal trained hard for months to look and move like a champion. \u003cem>Southpaw’\u003c/em>s press notes insist he didn’t use a stunt double in the ring, and director Antoine Fuqua — an amateur fighter himself, though he usually makes movies about cops or soldiers — brought in HBO Boxing camera operators Todd Palladino and Rick Cypher to make the choreographed bouts look real. (David O. Russell did this in 2010’s \u003cem>The Fighter,\u003c/em> too.) Naturally, Fuqua takes advantage of the fact that these are staged fights to put his camera where it could never go in a real one. And as in every non-documentary boxing flick, the blows seem to land more cleanly and with more immediate effect than in life. Still, \u003cem>Southpaw’\u003c/em>s fights are still visceral and involving.\u003c/p>\n\u003cp>Once upon a time, physical transformations like Gyllenhaal’s — he half-starved himself for \u003cem>Nightcrawler,\u003c/em> then followed that up by making himself at least a convincing replica of an elite athlete — were rare signifiers of an actor’s commitment. Fairly or not, they feel less significant now that Hollywood has gone full-time into the superhero business, spawning an entire sub-industry devoted to making youngish men from England, Ireland, Scotland, Australia, and on rare occasions the United States of America, look like Jim Lee drawings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The difference is that playing Superman or Wolverine means making yourself look invulnerable, while vulnerability and exhaustion are what boxing movies are all about. \u003cem>Southpaw\u003c/em> sometimes carries that idea to a laughable extreme: Gyllenhaal’s face is an oozing deep-dish pizza of bruises and lacerations in \u003cem>every\u003c/em> scene, even when months are supposed to have passed since his last fight. Still, you can’t blame the guy. You’ve heard the expression that an actor’s face is his tool? Sometimes it’s his trophy, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Adman to Stand-Up: Jim Gaffigan's Transition Took a Few Good Naps",
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"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>On stage, Jim Gaffigan comes off as an everyday kind of guy. Bearded, pale, the comedian riffs on the mundane stuff — like Hot Pockets, donuts and family vacations to Disneyland.\u003c/p>\n\u003cp>Still, don’t let that fool you: In the cutthroat world of comedy, he’s made it. He’s about to hit the the road with a \u003ca href=\"http://www.jimgaffigan.com/tour-dates\" target=\"_blank\" rel=\"noopener\">national tour\u003c/a>, and \u003cem>The Jim Gaffigan Show\u003c/em> just premiered on TV Land this week.\u003c/p>\n\u003cp>It’s something of a fulfillment of the ambitious dreams he’s harbored since he was young; as a kid, he had a romantic notion of getting into the entertainment industry. But for a long time, those hopes of hitting it big seemed so far away.\u003c/p>\n\u003cp>“I grew up in a small town in Indiana, where there was no one that had a cousin in the entertainment industry,” Gaffigan says. “The closest thing to the entertainment industry was the marching band. I think it was a very successful marching band, to be fair to them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Gaffigan moved to New York City after college, he was still a long way from the spotlight. He was stuck in a cubicle as an account manager.\u003c/p>\n\u003cp>“I was working in advertising while I was developing stand-up — essentially bombing,” he recalls.\u003c/p>\n\u003cp>He would work his 9-to-5 job, then go to an acting class and do a stand-up gig at a local club. When he got into work the next morning, he’d be so tired from the previous night that he would take naps in his cubicle.\u003c/p>\n\u003cp>Luckily for him, his colleagues thought his napping just habits made him “eccentric.” But his bosses were a different matter. It was only a matter of time before management noticed.\u003c/p>\n\u003cp>“They had to wake me up to fire me,” he says. “My boss had to shake me. … She was like, ‘I’m going to have to lay you off.’ ”\u003c/p>\n\u003cp>It turns out that getting fired was the best thing that could’ve happened to him. His money was saved up, and he had some experience on stage and lots of material to work with.\u003c/p>\n\u003cp>So he pursued stand-up full-time. Still, Gaffigan says it was a long road to success.\u003c/p>\n\u003cp>“I think I’d been doing stand-up for seven or eight years,” he says. “And I was not really getting much success or traction. And I would audition for things and the person that I would be auditioning for would literally leave the room. Just a lot of bad luck.”\u003c/p>\n\u003cp>He knew that an appearance on a late-night talk show would turn things around. Gaffigan grew up watching David Letterman, and he’d always looked up to the longtime host. So he auditioned for a spot on the \u003cem>Late Show\u003c/em> — and made the cut.\u003c/p>\n\u003cp>When he finally made his debut in January 1999, Gaffigan found himself performing in front of the whole country.\u003c/p>\n\u003cp>“My big break was appearing on [Letterman’s show]. It was a big deal,” Gaffigan says. “And the weird thing is, because Letterman thought I was good, everyone changed their mind. It changed the narrative surrounding me, completely. … It’s just a strange transformation. Someone essentially turns on a light switch, and it just changes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We want to hear about your big break. Send us an email at mybigbreak@npr.org.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Adman+To+Stand-Up%3A+Jim+Gaffigan%27s+Transition+Took+A+Few+Good+Naps&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>On stage, Jim Gaffigan comes off as an everyday kind of guy. Bearded, pale, the comedian riffs on the mundane stuff — like Hot Pockets, donuts and family vacations to Disneyland.\u003c/p>\n\u003cp>Still, don’t let that fool you: In the cutthroat world of comedy, he’s made it. He’s about to hit the the road with a \u003ca href=\"http://www.jimgaffigan.com/tour-dates\" target=\"_blank\" rel=\"noopener\">national tour\u003c/a>, and \u003cem>The Jim Gaffigan Show\u003c/em> just premiered on TV Land this week.\u003c/p>\n\u003cp>It’s something of a fulfillment of the ambitious dreams he’s harbored since he was young; as a kid, he had a romantic notion of getting into the entertainment industry. But for a long time, those hopes of hitting it big seemed so far away.\u003c/p>\n\u003cp>“I grew up in a small town in Indiana, where there was no one that had a cousin in the entertainment industry,” Gaffigan says. “The closest thing to the entertainment industry was the marching band. I think it was a very successful marching band, to be fair to them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Gaffigan moved to New York City after college, he was still a long way from the spotlight. He was stuck in a cubicle as an account manager.\u003c/p>\n\u003cp>“I was working in advertising while I was developing stand-up — essentially bombing,” he recalls.\u003c/p>\n\u003cp>He would work his 9-to-5 job, then go to an acting class and do a stand-up gig at a local club. When he got into work the next morning, he’d be so tired from the previous night that he would take naps in his cubicle.\u003c/p>\n\u003cp>Luckily for him, his colleagues thought his napping just habits made him “eccentric.” But his bosses were a different matter. It was only a matter of time before management noticed.\u003c/p>\n\u003cp>“They had to wake me up to fire me,” he says. “My boss had to shake me. … She was like, ‘I’m going to have to lay you off.’ ”\u003c/p>\n\u003cp>It turns out that getting fired was the best thing that could’ve happened to him. His money was saved up, and he had some experience on stage and lots of material to work with.\u003c/p>\n\u003cp>So he pursued stand-up full-time. Still, Gaffigan says it was a long road to success.\u003c/p>\n\u003cp>“I think I’d been doing stand-up for seven or eight years,” he says. “And I was not really getting much success or traction. And I would audition for things and the person that I would be auditioning for would literally leave the room. Just a lot of bad luck.”\u003c/p>\n\u003cp>He knew that an appearance on a late-night talk show would turn things around. Gaffigan grew up watching David Letterman, and he’d always looked up to the longtime host. So he auditioned for a spot on the \u003cem>Late Show\u003c/em> — and made the cut.\u003c/p>\n\u003cp>When he finally made his debut in January 1999, Gaffigan found himself performing in front of the whole country.\u003c/p>\n\u003cp>“My big break was appearing on [Letterman’s show]. It was a big deal,” Gaffigan says. “And the weird thing is, because Letterman thought I was good, everyone changed their mind. It changed the narrative surrounding me, completely. … It’s just a strange transformation. Someone essentially turns on a light switch, and it just changes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We want to hear about your big break. Send us an email at mybigbreak@npr.org.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Adman+To+Stand-Up%3A+Jim+Gaffigan%27s+Transition+Took+A+Few+Good+Naps&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Inevitably, several months after a beloved actor dies too young, we are expected to reckon with the ghost. That time has come for Robin Williams, the apple-cheeked performer with the giant heart, whose final onscreen appearance is arriving in theaters 11 months after his suicide (\u003cem>Absolutely Anything\u003c/em>, which features his last voicework, comes out later this year).\u003c/p>\n\u003cp>No matter that the new drama \u003cem>Boulevard \u003c/em>was shot before some of his other movies since released. The film’s timing ensures it joins a club also inhabited by \u003cem>A Most Wanted Man \u003c/em>(Philip Seymour Hoffman), \u003cem>Enough Said \u003c/em>(James Gandolfini), and \u003cem>Soul Men \u003c/em>(Bernie Mac), a club no movie wants to be in: where its defining trait is that its star, regardless of how full of life he may seem onscreen, no longer inhabits our mortal plane.\u003c/p>\n\u003cp>On its own merits, as a story about a middle-aged, married banker who realizes too late in life that he’s gay, \u003cem>Boulevard\u003c/em> is a little slight. As the final showcase for Williams, though, it’s heartbreaking. One of the actor’s least heralded skills was how he was able to so deftly balance two distinct acting personas: rubber-faced comedy and subtle, fragile drama. His work here as long-repressed Nolan Mack carries faint shades of his seminal, Oscar-winning turn in \u003cem>Good Will Hunting\u003c/em>. Once again we’re witnessing a delicate soul, a man so used to internalizing his problems that he seems ready to implode at any minute, gradually coming to grips with the reality of his situation. It’s an exquisite performance, and one with unmissable glimpses of some deep depression.\u003c/p>\n\u003cp>Sitting at the bedside of his dying father in the opening scene, Nolan then silently returns to his wife Joy (Kathy Baker), who seems anything but joyous. The couple sleep in separate beds at home, and Nolan works all the time, despite Joy’s efforts to drag him on a vacation cruise. Turns out he’s more comfortable with a different kind of cruise: the kind that brings him down an unnamed boulevard and within arm’s reach of the young prostitute Leo (Robert Aguire). Watch Williams’ nervous fumbling the first time Nolan brings Leo to a motel room, his quickness to offer coffee (“it’s complimentary with the room”), his eagerness to talk about his childhood. Nothing explicit is ever shown, yet we feel his emotional nakedness. The actor communicates more in that scene than many performers will articulate in their entire careers.\u003c/p>\n\u003cp>Director Dito Montiel (\u003cem>A Guide To Recognizing Your Saints\u003c/em>) bathes his star in a tremendous amount of shadow, so that Williams is perpetually receding into the darkness. Odd, then, that while Montiel seems to know exactly what to do with Williams, he’s adrift with almost every other component of his film. \u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk feels wasted in a sidekick role, while a villainous pimp seems to have emerged from a different movie entirely. The familiar trope of movie characters hiring prostitutes for something other than sex continues, and leads into the familiar morale that it’s never too late to do what you want.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seeds of something more compelling can be found in the relationship between Nolan and Leo, which morphs into something that calls to mind the stereotype of what would unkindly be called a sugar daddy. Nolan, so parched for companionship, gives Leo his phone number; when he doesn’t call, Nolan’s solution is to buy him a phone and preprogram his number into it. If only the object of Nolan’s affections could hold our attention as well: the young man’s most fascinating trait is his standoffishness, which in turn just leaves us pitying the guy so desperately trying to win him over. After so many years, why bother with someone who doesn’t love you back?\u003c/p>\n\u003cp>But all the film’s problems are secondary to Williams himself. Those who viewed his sillier comedies — the ones where he’s doing a million impressions a minute — and wished he would “dial it back” will be satisfied with the melancholy of his role in \u003cem>Boulevard\u003c/em>, though there’s nothing at all dialed back about this performance. Williams is full-bore inside this character, his insecurities, his lifelong regrets, his inklings of desire and hope. There is great power in melancholy, something the actor learned early in his career once he began to tackle dramatic roles with the same immersive gusto that had made him the \u003cem>Mork & Mindy\u003c/em> superstar. In his final gift to us, the one that just about closes the book on his career, he makes clear just what a giant he was.\u003c/p>\n\u003cp>Is.\u003c/p>\n\u003cp>Was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inevitably, several months after a beloved actor dies too young, we are expected to reckon with the ghost. That time has come for Robin Williams, the apple-cheeked performer with the giant heart, whose final onscreen appearance is arriving in theaters 11 months after his suicide (\u003cem>Absolutely Anything\u003c/em>, which features his last voicework, comes out later this year).\u003c/p>\n\u003cp>No matter that the new drama \u003cem>Boulevard \u003c/em>was shot before some of his other movies since released. The film’s timing ensures it joins a club also inhabited by \u003cem>A Most Wanted Man \u003c/em>(Philip Seymour Hoffman), \u003cem>Enough Said \u003c/em>(James Gandolfini), and \u003cem>Soul Men \u003c/em>(Bernie Mac), a club no movie wants to be in: where its defining trait is that its star, regardless of how full of life he may seem onscreen, no longer inhabits our mortal plane.\u003c/p>\n\u003cp>On its own merits, as a story about a middle-aged, married banker who realizes too late in life that he’s gay, \u003cem>Boulevard\u003c/em> is a little slight. As the final showcase for Williams, though, it’s heartbreaking. One of the actor’s least heralded skills was how he was able to so deftly balance two distinct acting personas: rubber-faced comedy and subtle, fragile drama. His work here as long-repressed Nolan Mack carries faint shades of his seminal, Oscar-winning turn in \u003cem>Good Will Hunting\u003c/em>. Once again we’re witnessing a delicate soul, a man so used to internalizing his problems that he seems ready to implode at any minute, gradually coming to grips with the reality of his situation. It’s an exquisite performance, and one with unmissable glimpses of some deep depression.\u003c/p>\n\u003cp>Sitting at the bedside of his dying father in the opening scene, Nolan then silently returns to his wife Joy (Kathy Baker), who seems anything but joyous. The couple sleep in separate beds at home, and Nolan works all the time, despite Joy’s efforts to drag him on a vacation cruise. Turns out he’s more comfortable with a different kind of cruise: the kind that brings him down an unnamed boulevard and within arm’s reach of the young prostitute Leo (Robert Aguire). Watch Williams’ nervous fumbling the first time Nolan brings Leo to a motel room, his quickness to offer coffee (“it’s complimentary with the room”), his eagerness to talk about his childhood. Nothing explicit is ever shown, yet we feel his emotional nakedness. The actor communicates more in that scene than many performers will articulate in their entire careers.\u003c/p>\n\u003cp>Director Dito Montiel (\u003cem>A Guide To Recognizing Your Saints\u003c/em>) bathes his star in a tremendous amount of shadow, so that Williams is perpetually receding into the darkness. Odd, then, that while Montiel seems to know exactly what to do with Williams, he’s adrift with almost every other component of his film. \u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk feels wasted in a sidekick role, while a villainous pimp seems to have emerged from a different movie entirely. The familiar trope of movie characters hiring prostitutes for something other than sex continues, and leads into the familiar morale that it’s never too late to do what you want.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seeds of something more compelling can be found in the relationship between Nolan and Leo, which morphs into something that calls to mind the stereotype of what would unkindly be called a sugar daddy. Nolan, so parched for companionship, gives Leo his phone number; when he doesn’t call, Nolan’s solution is to buy him a phone and preprogram his number into it. If only the object of Nolan’s affections could hold our attention as well: the young man’s most fascinating trait is his standoffishness, which in turn just leaves us pitying the guy so desperately trying to win him over. After so many years, why bother with someone who doesn’t love you back?\u003c/p>\n\u003cp>But all the film’s problems are secondary to Williams himself. Those who viewed his sillier comedies — the ones where he’s doing a million impressions a minute — and wished he would “dial it back” will be satisfied with the melancholy of his role in \u003cem>Boulevard\u003c/em>, though there’s nothing at all dialed back about this performance. Williams is full-bore inside this character, his insecurities, his lifelong regrets, his inklings of desire and hope. There is great power in melancholy, something the actor learned early in his career once he began to tackle dramatic roles with the same immersive gusto that had made him the \u003cem>Mork & Mindy\u003c/em> superstar. In his final gift to us, the one that just about closes the book on his career, he makes clear just what a giant he was.\u003c/p>\n\u003cp>Is.\u003c/p>\n\u003cp>Was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Harper Lee's 'Watchman' is a Mess that Makes Us Reconsider a Masterpiece",
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"content": "\u003cp>As another Southern writer once said, “You can’t go home again.” In Harper Lee’s \u003cem>Go Set a Watchman,\u003c/em> which takes place in the mid-1950s, a 26-year-old Scout Finch takes the train from New York City home to Maycomb, Ala., and finds the familiar world turned mighty strange.\u003c/p>\n\u003cfigure id=\"attachment_10838132\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Go-Set-A-Watchman-398x600.jpg\" alt=\"<i>Go Set A Watchman</i> by Harper Lee\" width=\"398\" height=\"600\" class=\"size-medium wp-image-10838132\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Go Set A Watchman\u003c/i> by Harper Lee\u003c/figcaption>\u003c/figure>\n\u003cp>TV and air-conditioning have changed the landscape, and beloved childhood friends like Dill and her brother Jem have vanished. Others, like Calpurnia, look at Scout, here called by her grown-up name of “Jean Louise,” as though she were, well, a white lady.\u003c/p>\n\u003cp>And then there’s Atticus. Now 72 and crippled by arthritis, he’s still a wry patriarch, but in one of the novel’s key scenes — set, as in \u003cem>To Kill a Mockingbird,\u003c/em> in Maycomb’s courthouse — Atticus allies himself with the kind of men who several years later stood shoulder to shoulder with Bull Connor and George Wallace.\u003c/p>\n\u003cp>\u003cem>Go Set a Watchman\u003c/em> is a troubling confusion of a novel, politically and artistically, beginning with its fishy origin story. Allegedly, it’s a recently discovered first draft of \u003cem>To Kill a Mockingbird,\u003c/em> but I’m suspicious: It reads much more like a failed sequel. There are lots of dead patches in \u003cem>Go Set a Watchman,\u003c/em> pages where we get long explanations of, say, the fine points of the Methodist worship service.\u003c/p>\n\u003cp>The novel turns on the adult Scout’s disillusionment with her father — a disillusionment that lovers of \u003cem>To Kill a Mockingbird\u003c/em> will surely share. Reeling from the Supreme Court’s recent ruling in \u003cem>Brown v. Board of Education,\u003c/em> Atticus reveals himself as a segregationist and a reactionary extremist. He’s a staunch proponent of states’ rights, a critic of federal programs, even popular ones like Social Security and the G.I. Bill, and a foe of the NAACP.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One could say, as some commentators already have, that Atticus here displays layers of contradictory attitudes about race harbored by whites, no matter how progressive. But, no. This Atticus is different in kind, not just degree: He’s like Ahab turned into a whale lover or Holden Caulfield a phony.\u003c/p>\n\u003cp>In \u003cem>To Kill a Mockingbird,\u003c/em> Atticus was his own man; here, he essentially tells Scout you have to go along to get along. This Atticus, we’re told, joined the Ku Klux Klan in his youth; now, he’s on the local Citizens Council. This Atticus is a eugenicist: He believes in racial theory and reads pamphlets with titles like “The Black Plague.” He warns the horrified Scout that: “We’re outnumbered here [in Maycomb]” and observes that “Our Negro population is backward” and “Negroes down here are still in their childhood as a people.” Scout, who takes up her fallen father’s torch of progressivism, likens his views to those of Hitler and Goebbels.\u003c/p>\n\u003cp>Yet, the more poignant revelations in \u003cem>Go Set a Watchman\u003c/em> have to do with Scout; at 26, she’s still a sort of tomboy, talking herself into marrying a childhood friend named Hank. At least half of this novel is devoted to Scout’s (or Jean Louise’s) torment over not feeling like she has a place in the world.\u003c/p>\n\u003cp>In a moving set-piece about halfway through the novel, Scout dutifully attends a “Coffee” that her prim Aunt Alexandra hosts for her. She wanders from group to group of women — The Newlyweds, The Diaper Set — and feels alienated. We’re told that Scout: “glanced down the long … livingroom at the double row of women, women she had merely known all her life, and she could not talk to them five minutes without drying up stone dead.”\u003c/p>\n\u003cp>I ached for this adult Scout: The civil rights movement may be gathering force, but the second women’s movement hasn’t happened yet. I wanted to transport Scout to our own time — take her to a performance of \u003cem>Fun Home\u003c/em> on Broadway — to know that, if she could only hang on, the possibilities for nonconforming tomboys will open up. Lee herself, writing in the 1950s, lacks the language and social imagination to fully develop this potentially powerful theme.\u003c/p>\n\u003cp>The novel goes on sale Tuesday, and everybody who loves \u003cem>To Kill a Mockingbird\u003c/em> is going to read it, no matter what I or any other reviewer says about its literary quality, the bizarre transformation of Atticus or its odd provenance. All I know for certain is that \u003cem>Go Set a Watchman\u003c/em> is kind of a mess that will forever change the way we read a masterpiece. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/422545987/422614859\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\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=Harper+Lee%27s+%27Watchman%27+Is+A+Mess+That+Makes+Us+Reconsider+A+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Depending on whom you ask,\u003cem> Go Set a Watchman\u003c/em> is either a recently discovered first draft of \u003cem>To Kill a Mockingbird\u003c/em> — or a failed sequel. Either way, critic Maureen Corrigan calls it\u003cem> \u003c/em>\"kind of a mess.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As another Southern writer once said, “You can’t go home again.” In Harper Lee’s \u003cem>Go Set a Watchman,\u003c/em> which takes place in the mid-1950s, a 26-year-old Scout Finch takes the train from New York City home to Maycomb, Ala., and finds the familiar world turned mighty strange.\u003c/p>\n\u003cfigure id=\"attachment_10838132\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Go-Set-A-Watchman-398x600.jpg\" alt=\"<i>Go Set A Watchman</i> by Harper Lee\" width=\"398\" height=\"600\" class=\"size-medium wp-image-10838132\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Go Set A Watchman\u003c/i> by Harper Lee\u003c/figcaption>\u003c/figure>\n\u003cp>TV and air-conditioning have changed the landscape, and beloved childhood friends like Dill and her brother Jem have vanished. Others, like Calpurnia, look at Scout, here called by her grown-up name of “Jean Louise,” as though she were, well, a white lady.\u003c/p>\n\u003cp>And then there’s Atticus. Now 72 and crippled by arthritis, he’s still a wry patriarch, but in one of the novel’s key scenes — set, as in \u003cem>To Kill a Mockingbird,\u003c/em> in Maycomb’s courthouse — Atticus allies himself with the kind of men who several years later stood shoulder to shoulder with Bull Connor and George Wallace.\u003c/p>\n\u003cp>\u003cem>Go Set a Watchman\u003c/em> is a troubling confusion of a novel, politically and artistically, beginning with its fishy origin story. Allegedly, it’s a recently discovered first draft of \u003cem>To Kill a Mockingbird,\u003c/em> but I’m suspicious: It reads much more like a failed sequel. There are lots of dead patches in \u003cem>Go Set a Watchman,\u003c/em> pages where we get long explanations of, say, the fine points of the Methodist worship service.\u003c/p>\n\u003cp>The novel turns on the adult Scout’s disillusionment with her father — a disillusionment that lovers of \u003cem>To Kill a Mockingbird\u003c/em> will surely share. Reeling from the Supreme Court’s recent ruling in \u003cem>Brown v. Board of Education,\u003c/em> Atticus reveals himself as a segregationist and a reactionary extremist. He’s a staunch proponent of states’ rights, a critic of federal programs, even popular ones like Social Security and the G.I. Bill, and a foe of the NAACP.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One could say, as some commentators already have, that Atticus here displays layers of contradictory attitudes about race harbored by whites, no matter how progressive. But, no. This Atticus is different in kind, not just degree: He’s like Ahab turned into a whale lover or Holden Caulfield a phony.\u003c/p>\n\u003cp>In \u003cem>To Kill a Mockingbird,\u003c/em> Atticus was his own man; here, he essentially tells Scout you have to go along to get along. This Atticus, we’re told, joined the Ku Klux Klan in his youth; now, he’s on the local Citizens Council. This Atticus is a eugenicist: He believes in racial theory and reads pamphlets with titles like “The Black Plague.” He warns the horrified Scout that: “We’re outnumbered here [in Maycomb]” and observes that “Our Negro population is backward” and “Negroes down here are still in their childhood as a people.” Scout, who takes up her fallen father’s torch of progressivism, likens his views to those of Hitler and Goebbels.\u003c/p>\n\u003cp>Yet, the more poignant revelations in \u003cem>Go Set a Watchman\u003c/em> have to do with Scout; at 26, she’s still a sort of tomboy, talking herself into marrying a childhood friend named Hank. At least half of this novel is devoted to Scout’s (or Jean Louise’s) torment over not feeling like she has a place in the world.\u003c/p>\n\u003cp>In a moving set-piece about halfway through the novel, Scout dutifully attends a “Coffee” that her prim Aunt Alexandra hosts for her. She wanders from group to group of women — The Newlyweds, The Diaper Set — and feels alienated. We’re told that Scout: “glanced down the long … livingroom at the double row of women, women she had merely known all her life, and she could not talk to them five minutes without drying up stone dead.”\u003c/p>\n\u003cp>I ached for this adult Scout: The civil rights movement may be gathering force, but the second women’s movement hasn’t happened yet. I wanted to transport Scout to our own time — take her to a performance of \u003cem>Fun Home\u003c/em> on Broadway — to know that, if she could only hang on, the possibilities for nonconforming tomboys will open up. Lee herself, writing in the 1950s, lacks the language and social imagination to fully develop this potentially powerful theme.\u003c/p>\n\u003cp>The novel goes on sale Tuesday, and everybody who loves \u003cem>To Kill a Mockingbird\u003c/em> is going to read it, no matter what I or any other reviewer says about its literary quality, the bizarre transformation of Atticus or its odd provenance. All I know for certain is that \u003cem>Go Set a Watchman\u003c/em> is kind of a mess that will forever change the way we read a masterpiece. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/422545987/422614859\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\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=Harper+Lee%27s+%27Watchman%27+Is+A+Mess+That+Makes+Us+Reconsider+A+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Portland Record Label Offers Women a Pay-Gap Discount",
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"content": "\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \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=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \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=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \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=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \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=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the wake of a bad breakup, journalist and gay activist David Thorpe did what many of us do: He took intense inventory of his own flaws and insecurities, then stepped up one of them into a Thing. A good Thing, as it turns out, whose end result is the charming documentary \u003cem>Do I Sound Gay?\u003c/em>, in which Thorpe wryly treats his anxieties about his “gay” voice as an exercise in self-improvement, and winds up with a compelling portrait of internalized homophobia and liberation.\u003c/p>\n\u003cp>Thorpe admits that going in, he was “repelled” by a speech style that makes gay men sound like “braying ninnies.” His efforts to “normalize” his own nasal up-speak with exercises prescribed by a cheery speech pathologist and a Hollywood voice coach are mildly amusing, but they feel a bit like comic filler working too hard. When he broadens his inquiry into widespread assumptions about effeminacy, the story gets a whole lot livelier, more fun, and more illuminating.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R21Fd8-Apf0\u003c/p>\n\u003cp>Back in South Carolina’s Bible Belt, where Thorpe grew up, relatives and childhood friends point out that he didn’t sound gay until he came out of the closet in college. Friends within his tight-knit gay circle are more divided: Some confess to hating their lisping, adenoidal voices; others own gayspeak with varying degrees of defiance and jubilation. Thorpe brings in linguists to testify that there’s little evidence to support the argument that gay speech is innate.\u003c/p>\n\u003cp>The explanation that pleases him most is that gay speech has its origins less in biology or neuro-chemistry than in early female influence: Men who grow up mostly around women tend to mimic feminine speech styles — which, Thorpe argues, would explain why some straight men sound gay, and why gays who grow up with brothers often develop basso profundos. That’s a persuasive, if mostly anecdotal thesis as far as it goes. Unless you believe that women lisp more than men do, though, it doesn’t cover the lisping that so many of Thorpe’s friends seem to hate in the way they talk. Yet some also honed their voices — and their ambivalence — from television and classic movie stars who sounded cosmopolitan and sophisticated, or who, like Liberace, turned their effeminacy to their own advantage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Do I Sound Gay?\u003c/em> is very good on the way many gay men who were bullied as children have learned to turn the hatred of others inward, which helps explain cases of gay hyper-masculinity and internal ostracism of effeminate men. The movie’s ending is upbeat, with good reason. Taking his cue from the swelling ranks of gay celebrities (among them George Takei, Margaret Cho and the ineffably funny and candid David Sedaris) who are willing to speak on camera about liberating themselves from their own fears, Thorpe realizes he’s been asking the wrong questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While he was busy trying to iron out his gay voice, New York State legalized gay marriage, and the film’s release comes just weeks after the Supreme Court legalized gay marriage across the nation. The last word surely belongs to a clip reel of wonderfully high-spirited teenage boys who, far from feeling cowed by the abuse they took as kids, stiffened their spines and took full ownership of their own expressive styles.\u003c/p>\n\n",
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"content": "\u003cp>One of the most outstanding and challenging new bits of music I’ve heard this year comes from Makeunder, the project of Hamilton Ulmer, an Oakland-based musician with a penchant for exploration. “Great Headless Blank” was the inspired track \u003ca href=\"http://www.npr.org/sections/allsongs/2015/04/14/399457829/new-mix-built-to-spill-milk-carton-kids-brown-bird-protomartyr\" target=\"_blank\" rel=\"noopener\">we played\u003c/a> on \u003cem>All Songs Considered\u003c/em> back in April, now it’s the title track to Makeunder’s latest EP, which we are proudly premiering here, along with track-by-track thoughts from Hamilton Ulmer.\u003c/p>\n\u003cp>I’m a firm believer in falling for music on its own terms. I often listen to music not knowing who I’m listening to, since knowing often comes with personal bias. What I heard felt like it could have come from Dirty Projectors, only this got even weirder than that. “Great Headless Blank” is punctuated by sax and claps that glue the off-kilter soaring vocals like fingers holding onto a cliff. I sensed the song was about desperation and hope but honestly I was simply fascinated by a sound filled with choral harmonies and influences that could include \u003ca href=\"http://www.npr.org/artists/15228868/bela-bartok\" target=\"_blank\" rel=\"noopener\">Béla Bartók\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a>.\u003c/p>\n\u003cp>Well, Hamilton wrote to us to tell us the tale of this remarkable debut EP, and oh god, it’s simply full of tragedy and reflection. Thankfully, it’s not depressing; musically it’s quite inspiring. So dig in. If you’re like me, listen first and read Ulmer’s words after. Whatever works. This is thoughtfully crafted music with a good soul at its heart. \u003c/p>\n\u003ch2>Makeunder, ‘Great Headless Blank’\u003c/h2>\n\u003chr>\n\u003ch3>Great Headless Bank\u003c/h3>\n\u003cp>“When I was 26, my oldest brother fell into a coma after a motorcycle accident, both of my grandfathers died within months of each other and my father passed away from lung cancer, forcing my mother to sell her belongings and home so she could pay her debts – all in the span of a year. These songs represent a few scenes from that period.\u003c/p>\n\u003cp>“Six months after it all ended, I was jetlagged and wide awake in a hotel room in San Francisco at 3:00 a.m., locked out of my apartment after flying in from London. Sometimes absurd, frustrating situations pull you away from what’s in front of you. I had the beginning of an Emily Dickinson poem floating in my head: ‘Pain has an element of blank; / It cannot recollect / When it began, or if there was / A time when it was not.’ There was no chance I’d get any sleep, so I pulled out my laptop, opened a Logic session and wrote a sketch of this song, singing all the parts into my laptop microphone. It took me another year before I felt ready to record it more seriously. At the time, an engineer friend and I took unbooked days at his studio and I’d freestyle the arrangement myself using whatever instruments were lying around, pulling in a few folks for parts I couldn’t do. At first I had no idea what to do with the finished song, and figured I had said all I cared to about this terrible period of my life. But then several more songs began to flow out of me, and I realized I wasn’t finished addressing the trauma on my own terms.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775368\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Far From The Sober West\u003c/h3>\n\u003cp>“If you get on I-10 in Los Angeles, drive thirteen hundred miles straight across the stark, arid, moon-like margins of America, and exit the highway just past the Hill Country, you’ll end up a few minutes away from my childhood home in San Antonio. And if you drive straight through, it only takes about twenty-two hours. My family knew the route well, having first made it when we moved from California to Texas in my parents’ rickety white Ford Econoline in the late ’80s, a trailer in tow.\u003c/p>\n\u003cp>“This song is about my siblings driving my cancer ridden father one more time along the desert stretch so he could die in his own home, at peace and in hospice. My parents had attended my maternal grandfather’s funeral in Palm Springs, taking a detour in Bakersfield to visit my father’s parents, when my dad’s labored breathing grew too heavy. A trip to a clinic revealed large growths in his lungs. He rushed into a round of chemotherapy right then, just before his own father passed away in his sleep in the room adjacent to his. We could hardly afford the time to acknowledge how everything was crumbling around us. My sister rented an SUV, loaded it with a battery-powered respirator and a few oxygen tanks, and drove in shifts with my brother while my parents sat in the back.\u003c/p>\n\u003cp>“The production of this song was troubled from the start. With the exception of the percussion, I recorded almost everything in my bedroom studio using two different microphones, which was also how I produced most of the other songs on this EP, with the exception of the title track. I pulled several favors to record strings, woodwinds, dozens of voices, modular synth patches and swarms of guitars. It demanded a dozen rewrites. I maxed out Logic Pro completely while recording it, and Pro Tools while mixing it. I’m not sure anyone understood or believed in this song while we were making it. But I love it more than anything else on this EP by a mile.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775408\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Window-Mounted Frigidaire\u003c/h3>\n\u003cp>“While my siblings brought my father back across the southwest, I flew home to pare down my parents’ possessions and disinfect every surface. Sorting through boxes of financial documents, filling garbage bags with useless stuff held on to for no good reason, it was the first time I was alone since the diagnosis the week before. I resented my dad for his lifelong chain-smoking habit, resented my parents for choosing a lifestyle that led to financial instability and helplessly falling into debt and felt sorry for myself for ever being born into any of it. And I was embarrassed to be carrying such anger when they were counting on me to begin dismantling their house.\u003c/p>\n\u003cp>“After cleaning all day I’d fire up Logic Pro and record songs about my recently deceased grandfather’s journey to America with the saxophone and violin I had just inherited from him, using my laptop’s internal microphone. Those recordings became Makeunder’s first EP. My only company at night was the window unit that kept my bedroom livable during the Texas summer.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775828\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Inevitable Conclusion\u003c/h3>\n\u003cp>“I fell into an intense, passionate relationship with a British woman when I returned to San Francisco after cleaning my parent’s home. Not long after meeting we fantasized about marriage, who would live where and when, starting a band, traveling together. Tragedy sometimes has a way of planting your feet solidly in the moment, and you take what is in front of you and throw yourself into it. But after my father died and her visa waiver expired, we found ourselves in different countries and I finally felt the weight of grief. There was no way I could leave the country. She held that against me, and we rode through a painful long-distance relationship for two years. I always figured that if I could find peace with my dad’s death, I’d move to London in a heartbeat and we’d pick up where we left off. The irony, of course, was that the bliss that defined that first month was long gone after all the back and forth. And at any rate, when I finally told her I was ready to give up my life and move to London for her, she’d met someone else.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775883\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Plain Tendency\u003c/h3>\n\u003cp>“I was nearly done recording the EP when I had decided that I needed to add this one. It wasn’t planned, and I’m sure it frustrated everyone who wanted the record done sooner, but the story would have felt incomplete if I hadn’t. I holed up all alone in my studio for three weeks, working through it with my voice, rewrite after rewrite, through considerable tears. It felt right that the most mournful song would be the barest.\u003c/p>\n\u003cp>“The inspiration for the song came from watching my father take his last breath at 5:00 a.m., the hospice nurse solemnly informing us that he’d finally reached the end of his suffering. The earth didn’t shake. Time didn’t stand still. We could hear birds faintly chirping outside as they had before. Death doesn’t visit. It’s always present. It just happens. It’s indifferent.\u003c/p>\n\u003cp>“After I finished recording the song, I only listened to it two or three more times to check the mix and master. I’d be content to never hear it again.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775979\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>What A Lovely Bandsaw!\u003c/h3>\n\u003cp>“‘What A Lovely Bandsaw!’ describes the weekend where my family held an estate sale to part with my father’s tools & belongings, so my mother could pay off her liens and put the home on the market. We watched hundreds of acquaintances and strangers rummage through every box, corner and cabinet, while we struggled to put a price on things my mother never thought she’d have to sell: finished works of art, handmade furniture, gouges, chisels, saws, a menagerie of power tools. Some we hardly understood how to value, others were important set pieces in my childhood memories.\u003c/p>\n\u003cp>“My parents never felt like they belonged in Texas and my father likened their mortgage to a prison sentence. They would have been happy to abandon the house and get the hell out of San Antonio for good. In the end, however, it was impossible not to feel overwhelmed as the home quickly disappeared, piece by piece, before we even had a chance to come to terms with everything we’d lost.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417776111\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\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=Read+The+Overwhelming%2C+Tragic+Story+Of+Makeunder%27s+%27Great+Headless+Blank%27+EP&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most outstanding and challenging new bits of music I’ve heard this year comes from Makeunder, the project of Hamilton Ulmer, an Oakland-based musician with a penchant for exploration. “Great Headless Blank” was the inspired track \u003ca href=\"http://www.npr.org/sections/allsongs/2015/04/14/399457829/new-mix-built-to-spill-milk-carton-kids-brown-bird-protomartyr\" target=\"_blank\" rel=\"noopener\">we played\u003c/a> on \u003cem>All Songs Considered\u003c/em> back in April, now it’s the title track to Makeunder’s latest EP, which we are proudly premiering here, along with track-by-track thoughts from Hamilton Ulmer.\u003c/p>\n\u003cp>I’m a firm believer in falling for music on its own terms. I often listen to music not knowing who I’m listening to, since knowing often comes with personal bias. What I heard felt like it could have come from Dirty Projectors, only this got even weirder than that. “Great Headless Blank” is punctuated by sax and claps that glue the off-kilter soaring vocals like fingers holding onto a cliff. I sensed the song was about desperation and hope but honestly I was simply fascinated by a sound filled with choral harmonies and influences that could include \u003ca href=\"http://www.npr.org/artists/15228868/bela-bartok\" target=\"_blank\" rel=\"noopener\">Béla Bartók\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a>.\u003c/p>\n\u003cp>Well, Hamilton wrote to us to tell us the tale of this remarkable debut EP, and oh god, it’s simply full of tragedy and reflection. Thankfully, it’s not depressing; musically it’s quite inspiring. So dig in. If you’re like me, listen first and read Ulmer’s words after. Whatever works. This is thoughtfully crafted music with a good soul at its heart. \u003c/p>\n\u003ch2>Makeunder, ‘Great Headless Blank’\u003c/h2>\n\u003chr>\n\u003ch3>Great Headless Bank\u003c/h3>\n\u003cp>“When I was 26, my oldest brother fell into a coma after a motorcycle accident, both of my grandfathers died within months of each other and my father passed away from lung cancer, forcing my mother to sell her belongings and home so she could pay her debts – all in the span of a year. These songs represent a few scenes from that period.\u003c/p>\n\u003cp>“Six months after it all ended, I was jetlagged and wide awake in a hotel room in San Francisco at 3:00 a.m., locked out of my apartment after flying in from London. Sometimes absurd, frustrating situations pull you away from what’s in front of you. I had the beginning of an Emily Dickinson poem floating in my head: ‘Pain has an element of blank; / It cannot recollect / When it began, or if there was / A time when it was not.’ There was no chance I’d get any sleep, so I pulled out my laptop, opened a Logic session and wrote a sketch of this song, singing all the parts into my laptop microphone. It took me another year before I felt ready to record it more seriously. At the time, an engineer friend and I took unbooked days at his studio and I’d freestyle the arrangement myself using whatever instruments were lying around, pulling in a few folks for parts I couldn’t do. At first I had no idea what to do with the finished song, and figured I had said all I cared to about this terrible period of my life. But then several more songs began to flow out of me, and I realized I wasn’t finished addressing the trauma on my own terms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775368\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Far From The Sober West\u003c/h3>\n\u003cp>“If you get on I-10 in Los Angeles, drive thirteen hundred miles straight across the stark, arid, moon-like margins of America, and exit the highway just past the Hill Country, you’ll end up a few minutes away from my childhood home in San Antonio. And if you drive straight through, it only takes about twenty-two hours. My family knew the route well, having first made it when we moved from California to Texas in my parents’ rickety white Ford Econoline in the late ’80s, a trailer in tow.\u003c/p>\n\u003cp>“This song is about my siblings driving my cancer ridden father one more time along the desert stretch so he could die in his own home, at peace and in hospice. My parents had attended my maternal grandfather’s funeral in Palm Springs, taking a detour in Bakersfield to visit my father’s parents, when my dad’s labored breathing grew too heavy. A trip to a clinic revealed large growths in his lungs. He rushed into a round of chemotherapy right then, just before his own father passed away in his sleep in the room adjacent to his. We could hardly afford the time to acknowledge how everything was crumbling around us. My sister rented an SUV, loaded it with a battery-powered respirator and a few oxygen tanks, and drove in shifts with my brother while my parents sat in the back.\u003c/p>\n\u003cp>“The production of this song was troubled from the start. With the exception of the percussion, I recorded almost everything in my bedroom studio using two different microphones, which was also how I produced most of the other songs on this EP, with the exception of the title track. I pulled several favors to record strings, woodwinds, dozens of voices, modular synth patches and swarms of guitars. It demanded a dozen rewrites. I maxed out Logic Pro completely while recording it, and Pro Tools while mixing it. I’m not sure anyone understood or believed in this song while we were making it. But I love it more than anything else on this EP by a mile.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775408\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Window-Mounted Frigidaire\u003c/h3>\n\u003cp>“While my siblings brought my father back across the southwest, I flew home to pare down my parents’ possessions and disinfect every surface. Sorting through boxes of financial documents, filling garbage bags with useless stuff held on to for no good reason, it was the first time I was alone since the diagnosis the week before. I resented my dad for his lifelong chain-smoking habit, resented my parents for choosing a lifestyle that led to financial instability and helplessly falling into debt and felt sorry for myself for ever being born into any of it. And I was embarrassed to be carrying such anger when they were counting on me to begin dismantling their house.\u003c/p>\n\u003cp>“After cleaning all day I’d fire up Logic Pro and record songs about my recently deceased grandfather’s journey to America with the saxophone and violin I had just inherited from him, using my laptop’s internal microphone. Those recordings became Makeunder’s first EP. My only company at night was the window unit that kept my bedroom livable during the Texas summer.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775828\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Inevitable Conclusion\u003c/h3>\n\u003cp>“I fell into an intense, passionate relationship with a British woman when I returned to San Francisco after cleaning my parent’s home. Not long after meeting we fantasized about marriage, who would live where and when, starting a band, traveling together. Tragedy sometimes has a way of planting your feet solidly in the moment, and you take what is in front of you and throw yourself into it. But after my father died and her visa waiver expired, we found ourselves in different countries and I finally felt the weight of grief. There was no way I could leave the country. She held that against me, and we rode through a painful long-distance relationship for two years. I always figured that if I could find peace with my dad’s death, I’d move to London in a heartbeat and we’d pick up where we left off. The irony, of course, was that the bliss that defined that first month was long gone after all the back and forth. And at any rate, when I finally told her I was ready to give up my life and move to London for her, she’d met someone else.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775883\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Plain Tendency\u003c/h3>\n\u003cp>“I was nearly done recording the EP when I had decided that I needed to add this one. It wasn’t planned, and I’m sure it frustrated everyone who wanted the record done sooner, but the story would have felt incomplete if I hadn’t. I holed up all alone in my studio for three weeks, working through it with my voice, rewrite after rewrite, through considerable tears. It felt right that the most mournful song would be the barest.\u003c/p>\n\u003cp>“The inspiration for the song came from watching my father take his last breath at 5:00 a.m., the hospice nurse solemnly informing us that he’d finally reached the end of his suffering. The earth didn’t shake. Time didn’t stand still. We could hear birds faintly chirping outside as they had before. Death doesn’t visit. It’s always present. It just happens. It’s indifferent.\u003c/p>\n\u003cp>“After I finished recording the song, I only listened to it two or three more times to check the mix and master. I’d be content to never hear it again.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775979\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>What A Lovely Bandsaw!\u003c/h3>\n\u003cp>“‘What A Lovely Bandsaw!’ describes the weekend where my family held an estate sale to part with my father’s tools & belongings, so my mother could pay off her liens and put the home on the market. We watched hundreds of acquaintances and strangers rummage through every box, corner and cabinet, while we struggled to put a price on things my mother never thought she’d have to sell: finished works of art, handmade furniture, gouges, chisels, saws, a menagerie of power tools. Some we hardly understood how to value, others were important set pieces in my childhood memories.\u003c/p>\n\u003cp>“My parents never felt like they belonged in Texas and my father likened their mortgage to a prison sentence. They would have been happy to abandon the house and get the hell out of San Antonio for good. In the end, however, it was impossible not to feel overwhelmed as the home quickly disappeared, piece by piece, before we even had a chance to come to terms with everything we’d lost.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Caine Prize Winner: Literature is Not a Competitive Sport",
"headTitle": "Caine Prize Winner: Literature is Not a Competitive Sport | KQED",
"content": "\u003cp>Newly named Caine Prize winner Namwali Serpell says that her “act of mutiny” — as she calls it — was premeditated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.caineprize.com/\" target=\"_blank\" rel=\"noopener\">The literary prize\u003c/a>, awarded annually to just one African writer for a short story written in English, comes with a financial reward — just over $15,000. The Zambian writer says she’d dreamed up her mutiny days before the Monday ceremony: If she should win, she’d split that sum with her fellow nominees.\u003c/p>\n\u003cp>“It’s such a wonderful group of people, such a cohesive group of writers,” she says in an interview with NPR. “And it just felt weird and sad that we were now going to be pitted against each other in some kind of battle royal. I think, for the writers obviously, literature’s not a competitive sport.”\u003c/p>\n\u003cp>Serpell, 34, won this year’s prize for “The Sack” — a story that’s as subtle as it is blunt, claustrophobia and regret cinching up around the reader’s ears as the plot shifts and twists in little ways. And while the author might not take home a larger purse than the other shortlisters, she does have something else to show for herself: an effusive citation from the award’s lead judge.\u003c/p>\n\u003cp>“It yields fresh meaning with every reading,” says panel chairwoman Zoe Wicomb in a statement. “Formally innovative, stylistically stunning, haunting and enigmatic in its effects.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was a bit shocked,” says Serpell, recalling her reaction at the ceremony when she was named the winner. Her family had been following along in Lusaka, Zambia — by the glow of cellphones and candlelight, as it turns out, because there had been a blackout in the area. “I was mostly trying to keep it together long enough to do my acceptance speech.”\u003c/p>\n\u003cp>Serpell left Lusaka when she was still young, leaving the city with her family at age 9. Despite returning for a year in her teens, Serpell has spent much of her life in the U.S. — studying literature at Harvard and Yale, and now teaching the subject at the University of California, Berkeley. Though she lives in California, she has visited Lusaka every year since her family returned in 2002.\u003c/p>\n\u003cp>The place she comes back to isn’t exactly the same as the one she left.\u003c/p>\n\u003cp>“Gertrude Stein is famous for having said about Oakland, Calif.: ‘There’s no there there.’ But what she’s actually referring to is that her childhood home had burned down, and when she went to where it used to be, she said there’s no there there,” says Serpell.\u003c/p>\n\u003cp>“Sometimes I feel that way when I go home.”\u003c/p>\n\u003cp>Dirt roads she once tread with friends have been paved, traffic clogs the streets as it never had before, and even on a broader scale, an influx of Chinese immigration and investment has rendered the city radically changed from her childhood.\u003c/p>\n\u003cp>And yet, at times she’s expected to answer for this childhood home she now infrequently visits, or more remarkably, for the literature of an entire continent — and no more so than in weeks like these.\u003c/p>\n\u003cp>“None of us really like being asked the question, ‘Why are you an African writer?’ ” she says of herself and her fellow shortlisters. “Or ‘\u003cem>Are\u003c/em> you an African writer?’ Or, ‘What is Africa and life itself?’ But we’ve been getting these all week.”\u003c/p>\n\u003cp>The questions, in some ways, are intrinsic to the prize itself. Named for British patron Sir Michael Harris Caine (no, not \u003cem>that \u003c/em>\u003ca href=\"http://www.npr.org/2013/05/30/187296744/michael-caine-i-spent-my-life-doing-something-that-i-love\" target=\"_blank\" rel=\"noopener\">Sir Michael Caine\u003c/a>) and awarded in Oxford University’s Bodleian Library, the Caine Prize has occasionally \u003ca href=\"http://bostonreview.net/fiction/varieties-blackness\" target=\"_blank\" rel=\"noopener\">attracted criticism\u003c/a> — even from \u003ca href=\"https://storify.com/brittlepaper/binyavanga-caineprize-beef\" target=\"_blank\" rel=\"noopener\">past winners\u003c/a> — alternately for not representing the best of African writing, or for being expected to represent \u003cem>too much\u003c/em>. As a prize born on an island, it faces the difficult task of recognizing just one story from an entire continent.\u003c/p>\n\u003cp>As another nominee for this year’s prize, Elnathan John, put the matter in \u003ca href=\"http://www.theguardian.com/world/live/2015/jul/02/caine-prize-african-writing-any-questions\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> last week: “I would prefer not to be a spokesperson at all. Whether for Africa or African writing.”\u003c/p>\n\u003cp>“I think that tension is acknowledged by both the writers shortlisted and the Caine Prize itself. It’s also a tension that, I have to admit, is kind of intrinsic to who I am because my father is British of origin,” Serpell says. “I think that kind of conflict inside can be a source of criticism, but it can also be a source of productive and interesting clashes.”\u003c/p>\n\u003cp>Though, she says, one step toward resolving some of these difficulties is by simply having more literary prizes on the continent. She lists several collectives and magazines — like South Africa’s \u003ca href=\"http://www.chimurenga.co.za/\" target=\"_blank\" rel=\"noopener\">Chimurenga\u003c/a> and Kenya’s \u003ca href=\"http://www.kwani.org/\" target=\"_blank\" rel=\"noopener\">Kwani?\u003c/a> — as proof of a publishing industry that’s already thriving from the ground up.\u003c/p>\n\u003cp>“Having a prize next to the Caine Prize rather than one to displace it, I think, would be the ideal.”\u003c/p>\n\u003cp>For now, though, she’s thrilled with the prize — and, by laying down her newly earned winnings, splitting them up and diminishing the duel between writers, she says she’s also taking steps toward that change herself.\u003c/p>\n\u003cp>That and, well, also creating a little insurance plan.\u003c/p>\n\u003cp>“I keep joking to the other shortlisted writers that if I’m ever unemployed,” she laughs, “I will be calling them.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.caineprize.com/pdf/2015%20The%20Sack%20-%20Namwali%20Serpell.pdf\" target=\"_blank\" rel=\"noopener\">\u003ci>Read the “The Sack,” the Caine Prize-winning story.\u003c/i>\u003c/a> \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=Caine+Prize+Winner%3A+Literature+Is+Not+A+Competitive+Sport&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Namwali Serpell promised to split the award's winnings with her fellow nominees. For the Zambian writer, it's one step toward changing the structure of the prestigious prize for African authors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Newly named Caine Prize winner Namwali Serpell says that her “act of mutiny” — as she calls it — was premeditated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.caineprize.com/\" target=\"_blank\" rel=\"noopener\">The literary prize\u003c/a>, awarded annually to just one African writer for a short story written in English, comes with a financial reward — just over $15,000. The Zambian writer says she’d dreamed up her mutiny days before the Monday ceremony: If she should win, she’d split that sum with her fellow nominees.\u003c/p>\n\u003cp>“It’s such a wonderful group of people, such a cohesive group of writers,” she says in an interview with NPR. “And it just felt weird and sad that we were now going to be pitted against each other in some kind of battle royal. I think, for the writers obviously, literature’s not a competitive sport.”\u003c/p>\n\u003cp>Serpell, 34, won this year’s prize for “The Sack” — a story that’s as subtle as it is blunt, claustrophobia and regret cinching up around the reader’s ears as the plot shifts and twists in little ways. And while the author might not take home a larger purse than the other shortlisters, she does have something else to show for herself: an effusive citation from the award’s lead judge.\u003c/p>\n\u003cp>“It yields fresh meaning with every reading,” says panel chairwoman Zoe Wicomb in a statement. “Formally innovative, stylistically stunning, haunting and enigmatic in its effects.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was a bit shocked,” says Serpell, recalling her reaction at the ceremony when she was named the winner. Her family had been following along in Lusaka, Zambia — by the glow of cellphones and candlelight, as it turns out, because there had been a blackout in the area. “I was mostly trying to keep it together long enough to do my acceptance speech.”\u003c/p>\n\u003cp>Serpell left Lusaka when she was still young, leaving the city with her family at age 9. Despite returning for a year in her teens, Serpell has spent much of her life in the U.S. — studying literature at Harvard and Yale, and now teaching the subject at the University of California, Berkeley. Though she lives in California, she has visited Lusaka every year since her family returned in 2002.\u003c/p>\n\u003cp>The place she comes back to isn’t exactly the same as the one she left.\u003c/p>\n\u003cp>“Gertrude Stein is famous for having said about Oakland, Calif.: ‘There’s no there there.’ But what she’s actually referring to is that her childhood home had burned down, and when she went to where it used to be, she said there’s no there there,” says Serpell.\u003c/p>\n\u003cp>“Sometimes I feel that way when I go home.”\u003c/p>\n\u003cp>Dirt roads she once tread with friends have been paved, traffic clogs the streets as it never had before, and even on a broader scale, an influx of Chinese immigration and investment has rendered the city radically changed from her childhood.\u003c/p>\n\u003cp>And yet, at times she’s expected to answer for this childhood home she now infrequently visits, or more remarkably, for the literature of an entire continent — and no more so than in weeks like these.\u003c/p>\n\u003cp>“None of us really like being asked the question, ‘Why are you an African writer?’ ” she says of herself and her fellow shortlisters. “Or ‘\u003cem>Are\u003c/em> you an African writer?’ Or, ‘What is Africa and life itself?’ But we’ve been getting these all week.”\u003c/p>\n\u003cp>The questions, in some ways, are intrinsic to the prize itself. Named for British patron Sir Michael Harris Caine (no, not \u003cem>that \u003c/em>\u003ca href=\"http://www.npr.org/2013/05/30/187296744/michael-caine-i-spent-my-life-doing-something-that-i-love\" target=\"_blank\" rel=\"noopener\">Sir Michael Caine\u003c/a>) and awarded in Oxford University’s Bodleian Library, the Caine Prize has occasionally \u003ca href=\"http://bostonreview.net/fiction/varieties-blackness\" target=\"_blank\" rel=\"noopener\">attracted criticism\u003c/a> — even from \u003ca href=\"https://storify.com/brittlepaper/binyavanga-caineprize-beef\" target=\"_blank\" rel=\"noopener\">past winners\u003c/a> — alternately for not representing the best of African writing, or for being expected to represent \u003cem>too much\u003c/em>. As a prize born on an island, it faces the difficult task of recognizing just one story from an entire continent.\u003c/p>\n\u003cp>As another nominee for this year’s prize, Elnathan John, put the matter in \u003ca href=\"http://www.theguardian.com/world/live/2015/jul/02/caine-prize-african-writing-any-questions\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> last week: “I would prefer not to be a spokesperson at all. Whether for Africa or African writing.”\u003c/p>\n\u003cp>“I think that tension is acknowledged by both the writers shortlisted and the Caine Prize itself. It’s also a tension that, I have to admit, is kind of intrinsic to who I am because my father is British of origin,” Serpell says. “I think that kind of conflict inside can be a source of criticism, but it can also be a source of productive and interesting clashes.”\u003c/p>\n\u003cp>Though, she says, one step toward resolving some of these difficulties is by simply having more literary prizes on the continent. She lists several collectives and magazines — like South Africa’s \u003ca href=\"http://www.chimurenga.co.za/\" target=\"_blank\" rel=\"noopener\">Chimurenga\u003c/a> and Kenya’s \u003ca href=\"http://www.kwani.org/\" target=\"_blank\" rel=\"noopener\">Kwani?\u003c/a> — as proof of a publishing industry that’s already thriving from the ground up.\u003c/p>\n\u003cp>“Having a prize next to the Caine Prize rather than one to displace it, I think, would be the ideal.”\u003c/p>\n\u003cp>For now, though, she’s thrilled with the prize — and, by laying down her newly earned winnings, splitting them up and diminishing the duel between writers, she says she’s also taking steps toward that change herself.\u003c/p>\n\u003cp>That and, well, also creating a little insurance plan.\u003c/p>\n\u003cp>“I keep joking to the other shortlisted writers that if I’m ever unemployed,” she laughs, “I will be calling them.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.caineprize.com/pdf/2015%20The%20Sack%20-%20Namwali%20Serpell.pdf\" target=\"_blank\" rel=\"noopener\">\u003ci>Read the “The Sack,” the Caine Prize-winning story.\u003c/i>\u003c/a> \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=Caine+Prize+Winner%3A+Literature+Is+Not+A+Competitive+Sport&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Peruvians Love Their Chicha Street Art. The Government ... Not So Much",
"headTitle": "Peruvians Love Their Chicha Street Art. The Government … Not So Much | KQED",
"content": "\u003cp>Elliot Tupac is bringing the street art of Peru to Washington, D.C.\u003c/p>\n\u003cp>A brush in one hand, a can of spray paint in the other, a tanned \u003ca href=\"http://www.elliottupac.com/\" target=\"_blank\" rel=\"noopener\">Tupac\u003c/a> is emblazoning the word “Libertad” — Spanish for freedom — in big bold letters. Their neon colors are so intense they could practically glow in the dark.\u003c/p>\n\u003cp>The art he’s creating is called chicha. It’s definitely fun to look at it. And it turns out to be a bit controversial as well. In March, the government of Peru painted over a Tupac mural with the words “Antes sonaba” (I used to dream) and many other street murals in a historic district in Lima. The reasons are unclear; the government reportedly says it was trying to preserve the historic district.\u003c/p>\n\u003cp>As for Tupac, he just keeps on making chicha-style murals. That’s why the \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">Smithsonian Folklife Festival\u003c/a> brought him to town for its celebration of Peruvian culture.\u003c/p>\n\u003cp>If you’ve not been to Peru (or the festival), you may be wondering: What exactly is chicha?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The word itself has a murky origin. In Latin America, most people use it to refer to a popular fermented corn \u003ca href=\"http://www.festival.si.edu/2015/peru/foodways/smithsonian\" target=\"_blank\" rel=\"noopener\">drink\u003c/a>. Some say it’s derived from the word for maize (\u003cem>chichab\u003c/em> in Kuna, a Colombian language) or fermented water (\u003cem>chichiatl\u003c/em> in Nahutl, an Aztec language).\u003c/p>\n\u003cp>But in Peru, chicha is more than just a drink. It’s a \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">music\u003c/a> genre that uses rock ‘n’ roll instruments like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15400402\" target=\"_blank\" rel=\"noopener\">electric guitars\u003c/a> and synthesizers to rock out funky beats and folk melodies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ow_OjkSLZDI\u003c/p>\n\u003cp>“Chicha started out as a music movement in the ’60s,” says Cristina Díaz-Carrera, co-curator of the 2015 Smithsonian Folklife Festival. It sprang from Cumbia, a “catchy” dance music that started out in Colombia. Peruvians added local rhythms, instruments, melodies and dance moves and renamed it “chicha.” In the ’90s, says Diaz-Carrera, the Ministry of Culture in Peru recognized chicha as a valid art form.\u003c/p>\n\u003cp>Alfredo Villar, a Peruvian art historian and a participant at the festival, called chicha “the contemporary baroque.”\u003c/p>\n\u003cp>“It’s overloaded with information. It’s an explosion of color and sound,” Villar says of the music, “It’s like a carnival.”\u003c/p>\n\u003cp>Many of the fans are migrants from the central Andean valley regions of Peru — the Huancayo, who’d flocked to cities like Lima as a result of the \u003ca href=\"https://books.google.com/books?id=UA84AAAAIAAJ&pg=PA26&lpg=PA26&dq=huancayo+land+reform&source=bl&ots=ez78l7XcFv&sig=hkm6MfR0REIRUqV3Z4YRg0izjWk&hl=en&sa=X&ei=uIqVVY_hGMK5ggSLv7vYBw&ved=0CCgQ6AEwBA#v=onepage&q=huancayo%20land%20reform&f=false\" target=\"_blank\" rel=\"noopener\">land reform\u003c/a> in the 1940s.\u003c/p>\n\u003cp>With the music came the art — first posters advertising concerts, then murals with a message.\u003c/p>\n\u003cp>The look of chicha is credited to Los Shapis, an ’80s band, which wore brightly colored outfits inspired by embroidery from their native Huancayo region. Other groups loved the look. And bands began working with street artists to create posters that captured their essence and style with \u003ca href=\"http://www.festival.si.edu/blog/2015/chicha-art-ancestral-colors-modern-designs/\" target=\"_blank\" rel=\"noopener\">neon\u003c/a>-bright colors and big letters.\u003c/p>\n\u003cp>But not everyone in Peru approved of the music and the street art it spawned.\u003c/p>\n\u003cp>“Chicha was actually a disparaging word in the beginning. The lower class listens to this music,” Díaz-Carrera says, “the art and everything associated with it, if you’re in the upper class you didn’t want it on your street.”\u003c/p>\n\u003cp>These class tensions remain.\u003c/p>\n\u003cp>“The elite don’t like chicha art, especially when it’s in the streets,” Villar says. “They’re changing a little bit, but I don’t think there’s sincere change.”\u003c/p>\n\u003cp>The murals offer these communities a way to express themselves, to communicate with each other, and appreciate art outside of the museum setting, says Alexia Fawcett, community engagement manager for the Folklife Festival.\u003c/p>\n\u003cfigure id=\"attachment_10825145\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg\" alt=\""Monky" silk screens posters for some of Peru's top chicha bands. (Photo by Joshua Cogan)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10825145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Monky” silk screens posters for some of Peru’s top chicha bands. (Photo by Joshua Cogan)\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally there was an uproar when the government erased the murals earlier this year. The people of Lima responded on social media with hashtags \u003ca href=\"https://twitter.com/search?q=%23SalvemosLosMurales&src=typd\" target=\"_blank\" rel=\"noopener\">#SalvemosLosMurales\u003c/a> (save the murals) and \u003ca href=\"https://twitter.com/search?q=%23BorraronUnoPintaremosMil&src=typd\" target=\"_blank\" rel=\"noopener\">#BorraronUnoPintaremosMil\u003c/a> (they erased one, we’ll paint a thousand) as well as staged protests.\u003c/p>\n\u003cp>Meanwhile, chicha is finding a global audience. “In other countries we have love and support; they let us do the work we do on the walls,” says Pedro “Monky” Rojas, a chicha pioneer who was also part of the Folklife contingent.\u003c/p>\n\u003cp>Tupac has brought his brightly colored artwork to the walls of many countries — Chile, Tunisia and even the United Kingdom a couple of weeks ago. The art is mainly in the streets — “that’s where it has to be,” Tupac says — but he also offers lettering workshops.\u003c/p>\n\u003cp>And despite the Peruvian government’s recent action, chicha continues to flourish in the streets where it was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can go to Lima, go to the northern coast, the southern coast,” says Diaz-Carrera. “Chicha is everywhere.” \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=Peruvians+Love+Their+Chicha+Street+Art.+The+Government+...+Not+So+Much&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Walk down a street in Peru and you'll likely see an example of the glow-in-the-dark posters and murals. Lots of people love them. But the upper crust — and the government — aren't impressed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elliot Tupac is bringing the street art of Peru to Washington, D.C.\u003c/p>\n\u003cp>A brush in one hand, a can of spray paint in the other, a tanned \u003ca href=\"http://www.elliottupac.com/\" target=\"_blank\" rel=\"noopener\">Tupac\u003c/a> is emblazoning the word “Libertad” — Spanish for freedom — in big bold letters. Their neon colors are so intense they could practically glow in the dark.\u003c/p>\n\u003cp>The art he’s creating is called chicha. It’s definitely fun to look at it. And it turns out to be a bit controversial as well. In March, the government of Peru painted over a Tupac mural with the words “Antes sonaba” (I used to dream) and many other street murals in a historic district in Lima. The reasons are unclear; the government reportedly says it was trying to preserve the historic district.\u003c/p>\n\u003cp>As for Tupac, he just keeps on making chicha-style murals. That’s why the \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">Smithsonian Folklife Festival\u003c/a> brought him to town for its celebration of Peruvian culture.\u003c/p>\n\u003cp>If you’ve not been to Peru (or the festival), you may be wondering: What exactly is chicha?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The word itself has a murky origin. In Latin America, most people use it to refer to a popular fermented corn \u003ca href=\"http://www.festival.si.edu/2015/peru/foodways/smithsonian\" target=\"_blank\" rel=\"noopener\">drink\u003c/a>. Some say it’s derived from the word for maize (\u003cem>chichab\u003c/em> in Kuna, a Colombian language) or fermented water (\u003cem>chichiatl\u003c/em> in Nahutl, an Aztec language).\u003c/p>\n\u003cp>But in Peru, chicha is more than just a drink. It’s a \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">music\u003c/a> genre that uses rock ‘n’ roll instruments like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15400402\" target=\"_blank\" rel=\"noopener\">electric guitars\u003c/a> and synthesizers to rock out funky beats and folk melodies.\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/Ow_OjkSLZDI'\n title='//www.youtube.com/embed/Ow_OjkSLZDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Chicha started out as a music movement in the ’60s,” says Cristina Díaz-Carrera, co-curator of the 2015 Smithsonian Folklife Festival. It sprang from Cumbia, a “catchy” dance music that started out in Colombia. Peruvians added local rhythms, instruments, melodies and dance moves and renamed it “chicha.” In the ’90s, says Diaz-Carrera, the Ministry of Culture in Peru recognized chicha as a valid art form.\u003c/p>\n\u003cp>Alfredo Villar, a Peruvian art historian and a participant at the festival, called chicha “the contemporary baroque.”\u003c/p>\n\u003cp>“It’s overloaded with information. It’s an explosion of color and sound,” Villar says of the music, “It’s like a carnival.”\u003c/p>\n\u003cp>Many of the fans are migrants from the central Andean valley regions of Peru — the Huancayo, who’d flocked to cities like Lima as a result of the \u003ca href=\"https://books.google.com/books?id=UA84AAAAIAAJ&pg=PA26&lpg=PA26&dq=huancayo+land+reform&source=bl&ots=ez78l7XcFv&sig=hkm6MfR0REIRUqV3Z4YRg0izjWk&hl=en&sa=X&ei=uIqVVY_hGMK5ggSLv7vYBw&ved=0CCgQ6AEwBA#v=onepage&q=huancayo%20land%20reform&f=false\" target=\"_blank\" rel=\"noopener\">land reform\u003c/a> in the 1940s.\u003c/p>\n\u003cp>With the music came the art — first posters advertising concerts, then murals with a message.\u003c/p>\n\u003cp>The look of chicha is credited to Los Shapis, an ’80s band, which wore brightly colored outfits inspired by embroidery from their native Huancayo region. Other groups loved the look. And bands began working with street artists to create posters that captured their essence and style with \u003ca href=\"http://www.festival.si.edu/blog/2015/chicha-art-ancestral-colors-modern-designs/\" target=\"_blank\" rel=\"noopener\">neon\u003c/a>-bright colors and big letters.\u003c/p>\n\u003cp>But not everyone in Peru approved of the music and the street art it spawned.\u003c/p>\n\u003cp>“Chicha was actually a disparaging word in the beginning. The lower class listens to this music,” Díaz-Carrera says, “the art and everything associated with it, if you’re in the upper class you didn’t want it on your street.”\u003c/p>\n\u003cp>These class tensions remain.\u003c/p>\n\u003cp>“The elite don’t like chicha art, especially when it’s in the streets,” Villar says. “They’re changing a little bit, but I don’t think there’s sincere change.”\u003c/p>\n\u003cp>The murals offer these communities a way to express themselves, to communicate with each other, and appreciate art outside of the museum setting, says Alexia Fawcett, community engagement manager for the Folklife Festival.\u003c/p>\n\u003cfigure id=\"attachment_10825145\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg\" alt=\""Monky" silk screens posters for some of Peru's top chicha bands. (Photo by Joshua Cogan)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10825145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Monky” silk screens posters for some of Peru’s top chicha bands. (Photo by Joshua Cogan)\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally there was an uproar when the government erased the murals earlier this year. The people of Lima responded on social media with hashtags \u003ca href=\"https://twitter.com/search?q=%23SalvemosLosMurales&src=typd\" target=\"_blank\" rel=\"noopener\">#SalvemosLosMurales\u003c/a> (save the murals) and \u003ca href=\"https://twitter.com/search?q=%23BorraronUnoPintaremosMil&src=typd\" target=\"_blank\" rel=\"noopener\">#BorraronUnoPintaremosMil\u003c/a> (they erased one, we’ll paint a thousand) as well as staged protests.\u003c/p>\n\u003cp>Meanwhile, chicha is finding a global audience. “In other countries we have love and support; they let us do the work we do on the walls,” says Pedro “Monky” Rojas, a chicha pioneer who was also part of the Folklife contingent.\u003c/p>\n\u003cp>Tupac has brought his brightly colored artwork to the walls of many countries — Chile, Tunisia and even the United Kingdom a couple of weeks ago. The art is mainly in the streets — “that’s where it has to be,” Tupac says — but he also offers lettering workshops.\u003c/p>\n\u003cp>And despite the Peruvian government’s recent action, chicha continues to flourish in the streets where it was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can go to Lima, go to the northern coast, the southern coast,” says Diaz-Carrera. “Chicha is everywhere.” \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=Peruvians+Love+Their+Chicha+Street+Art.+The+Government+...+Not+So+Much&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Cosby Revelation: How a Decade-Old Deposition Came to Light",
"headTitle": "The Cosby Revelation: How a Decade-Old Deposition Came to Light | KQED",
"content": "\u003cp>On Monday, a decade-old deposition became the talk of the nation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">As we reported\u003c/a>, in it comedian Bill Cosby admits that he gave sedatives to at least one woman whom he wanted to have sex with.\u003c/p>\n\u003cp>The deposition was given by Cosby during the discovery phase of a civil lawsuit against the comedian. At the time, the judge presiding over the case sealed the records of the case while lawyers from both sides gathered evidence. While that was going on the two parties came to a settlement, signed a confidentiality agreement and the temporary seal — and the case for that matter — was forgotten.\u003c/p>\n\u003cp>So, how and why did this deposition become public now?\u003c/p>\n\u003cp>The simple answer is that after accusations of sexual assault re-emerged against Cosby, the Associated Press asked the court to unseal the documents and the court agreed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Legally it’s more interesting. U.S. District Judge Eduardo Robreno \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html\" target=\"_blank\" rel=\"noopener\">issued a 25-page memo\u003c/a> outlining his reasoning. Here’s how he explains it:\u003c/p>\n\u003cp>— The \u003ca href=\"https://www.paed.uscourts.gov/documents/locrules/civil/cvrules.pdf\" target=\"_blank\" rel=\"noopener\">court’s rules\u003c/a> state that unless there is an objection, documents filed in the court will be unsealed automatically two years after the conclusion of litigation.\u003c/p>\n\u003cp>— When the AP filed a request to have the documents unsealed, Cosby’s attorneys objected, saying it would violate Cosby’s right to privacy by making public, among other things, “intimate knowledge about his sex life.” Cosby’s lawyer also argued that the release would embarrass Cosby and would violate the confidentiality agreement signed by the two parties.\u003c/p>\n\u003cp>— Robreno dismissed all those arguments.\u003c/p>\n\u003cp>— Perhaps the most intriguing part is that Robreno concluded that Cosby should be thought of as a public servant. Previous courts have held that public servants, or politicians, give up some of the privacy protections afforded to regular citizens or even public figures.\u003c/p>\n\u003cp>— So, how did Robreno make that leap? He argued that while Cosby is clearly a public figure, when he talks about issues of public policy like unwed mothers and crime, he becomes a “public moralist,” which is akin to being a public servant. Robreno writes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg\" alt=\"cosby-order-Q1\" width=\"553\" height=\"134\" class=\"aligncenter size-full wp-image-10824599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1-400x97.jpg 400w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003c/p>\n\u003cp>Later:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg\" alt=\"cosby-order-Q2\" width=\"552\" height=\"231\" class=\"aligncenter size-full wp-image-10824600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2-400x167.jpg 400w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003c/p>\n\u003cp>— In the footnotes, Robreno specifically points out \u003ca href=\"http://www.eightcitiesmap.com/transcript_bc.htm\">Cosby’s speech\u003c/a> at the 50th anniversary commemoration of the \u003cem>Brown v. Board of Education\u003c/em>. In it, Cosby lays into the black community. Cosby said: “Ladies and gentlemen, in our cities and public schools we have 50 percent drop out. In our own neighborhood, we have men in prison. No longer is a person embarrassed because they’re pregnant without a husband. No longer is a boy considered an embarrassment if he tries to run away from being the father of the unmarried child.”\u003c/p>\n\u003cp>— The release of these documents, \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html#document/p19/a225693\">Robreno argues\u003c/a>, is therefore important for the public to weigh “the stark contrast between Bill Cosby, the public moralist and Bill Cosby, the subject of serious allegations concerning improper (and perhaps criminal) conduct …”\u003c/p>\n\u003cp>— On the embarrassment claim, the judge counters:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg\" alt=\"cosby-order-Q3\" width=\"546\" height=\"276\" class=\"aligncenter size-full wp-image-10824601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3-400x202.jpg 400w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>— Finally, as to the confidentiality agreement, Robreno says the two parties never filed the settlement agreement with the court, so the court has no obligation to honor it: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg\" alt=\"cosby-order-Q4\" width=\"547\" height=\"314\" class=\"aligncenter size-full wp-image-10824602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4-400x230.jpg 400w\" sizes=\"(max-width: 547px) 100vw, 547px\">\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=The+Cosby+Revelation%3A+How+A+Decade-Old+Deposition+Came+To+Light&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, a decade-old deposition became the talk of the nation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">As we reported\u003c/a>, in it comedian Bill Cosby admits that he gave sedatives to at least one woman whom he wanted to have sex with.\u003c/p>\n\u003cp>The deposition was given by Cosby during the discovery phase of a civil lawsuit against the comedian. At the time, the judge presiding over the case sealed the records of the case while lawyers from both sides gathered evidence. While that was going on the two parties came to a settlement, signed a confidentiality agreement and the temporary seal — and the case for that matter — was forgotten.\u003c/p>\n\u003cp>So, how and why did this deposition become public now?\u003c/p>\n\u003cp>The simple answer is that after accusations of sexual assault re-emerged against Cosby, the Associated Press asked the court to unseal the documents and the court agreed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Legally it’s more interesting. U.S. District Judge Eduardo Robreno \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html\" target=\"_blank\" rel=\"noopener\">issued a 25-page memo\u003c/a> outlining his reasoning. Here’s how he explains it:\u003c/p>\n\u003cp>— The \u003ca href=\"https://www.paed.uscourts.gov/documents/locrules/civil/cvrules.pdf\" target=\"_blank\" rel=\"noopener\">court’s rules\u003c/a> state that unless there is an objection, documents filed in the court will be unsealed automatically two years after the conclusion of litigation.\u003c/p>\n\u003cp>— When the AP filed a request to have the documents unsealed, Cosby’s attorneys objected, saying it would violate Cosby’s right to privacy by making public, among other things, “intimate knowledge about his sex life.” Cosby’s lawyer also argued that the release would embarrass Cosby and would violate the confidentiality agreement signed by the two parties.\u003c/p>\n\u003cp>— Robreno dismissed all those arguments.\u003c/p>\n\u003cp>— Perhaps the most intriguing part is that Robreno concluded that Cosby should be thought of as a public servant. Previous courts have held that public servants, or politicians, give up some of the privacy protections afforded to regular citizens or even public figures.\u003c/p>\n\u003cp>— So, how did Robreno make that leap? He argued that while Cosby is clearly a public figure, when he talks about issues of public policy like unwed mothers and crime, he becomes a “public moralist,” which is akin to being a public servant. Robreno writes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg\" alt=\"cosby-order-Q1\" width=\"553\" height=\"134\" class=\"aligncenter size-full wp-image-10824599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1-400x97.jpg 400w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003c/p>\n\u003cp>Later:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg\" alt=\"cosby-order-Q2\" width=\"552\" height=\"231\" class=\"aligncenter size-full wp-image-10824600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2-400x167.jpg 400w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003c/p>\n\u003cp>— In the footnotes, Robreno specifically points out \u003ca href=\"http://www.eightcitiesmap.com/transcript_bc.htm\">Cosby’s speech\u003c/a> at the 50th anniversary commemoration of the \u003cem>Brown v. Board of Education\u003c/em>. In it, Cosby lays into the black community. Cosby said: “Ladies and gentlemen, in our cities and public schools we have 50 percent drop out. In our own neighborhood, we have men in prison. No longer is a person embarrassed because they’re pregnant without a husband. No longer is a boy considered an embarrassment if he tries to run away from being the father of the unmarried child.”\u003c/p>\n\u003cp>— The release of these documents, \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html#document/p19/a225693\">Robreno argues\u003c/a>, is therefore important for the public to weigh “the stark contrast between Bill Cosby, the public moralist and Bill Cosby, the subject of serious allegations concerning improper (and perhaps criminal) conduct …”\u003c/p>\n\u003cp>— On the embarrassment claim, the judge counters:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg\" alt=\"cosby-order-Q3\" width=\"546\" height=\"276\" class=\"aligncenter size-full wp-image-10824601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3-400x202.jpg 400w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>— Finally, as to the confidentiality agreement, Robreno says the two parties never filed the settlement agreement with the court, so the court has no obligation to honor it: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg\" alt=\"cosby-order-Q4\" width=\"547\" height=\"314\" class=\"aligncenter size-full wp-image-10824602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4-400x230.jpg 400w\" sizes=\"(max-width: 547px) 100vw, 547px\">\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=The+Cosby+Revelation%3A+How+A+Decade-Old+Deposition+Came+To+Light&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"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>",
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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