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"title": "A Rational Conversation: How Deep is the Disco Revival?",
"headTitle": "A Rational Conversation: How Deep is the Disco Revival? | KQED",
"content": "\u003cp>\u003cem>“A Rational Conversation” is a column by writer \u003c/em>\u003ca href=\"https://twitter.com/ericducker\" target=\"_blank\" rel=\"noopener\">\u003cem>Eric Ducker\u003c/em>\u003c/a>\u003cem> in which he gets on iChat or Gchat or the phone or whatever with a special guest to examine a music-related subject that’s entered the pop culture consciousness. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Recently eurodisco legends \u003c/em>\u003ca href=\"https://www.facebook.com/GiorgioMoroderOfficial\" target=\"_blank\" rel=\"noopener\">\u003cem>Giorgio Moroder\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://www.discogs.com/artist/16127-Cerrone\">\u003cem>Cerrone\u003c/em>\u003c/a>\u003cem> uncorked the champagne of their sound and re-emerged for some unexpected dance remixes of major rock acts. Moroder took on \u003ca href=\"http://www.npr.org/artists/15052810/coldplay\" target=\"_blank\" rel=\"noopener\">Coldplay\u003c/a>‘s “Midnight” and \u003ca href=\"http://www.npr.org/artists/211451999/haim\" target=\"_blank\" rel=\"noopener\">Haim\u003c/a>‘s “Forever,” while Cerrone went at Haim’s “If I Could Change Your Mind.” All qualify as their highest profile releases in years, if not decades.\u003c/em>\u003c/p>\n\u003cp>\u003cem>These remixes also seem like part of a larger re-embrace of sophisticated, immaculate disco sounds. This trend is probably best exemplified by \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\" target=\"_blank\" rel=\"noopener\">Daft Punk\u003c/a>‘s 2013 album \u003c/em>Random Access Memories\u003cem>, which also featured\u003c/em> \u003cem>producer and composer Moroder delivering the spoken introduction to the tribute track “\u003ca href=\"https://www.youtube.com/watch?v=5m4ZkEqQrn0&feature=kp\" target=\"_blank\" rel=\"noopener\">Giorgio by Moroder\u003c/a>.” Still, disco is a groovier and subtler form of dance music than the currently raging sounds of trap and dubstep, so it’s unclear how much young listeners will embrace it\u003c/em>\u003c/p>\n\u003cp>\u003cem>To find out what these remixes may signal and how they fit into a broader story, Ducker instant messaged with James Friedman, owner of the disco and house-leaning label \u003c/em>\u003ca href=\"http://www.throneofbloodmusic.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Throne of Blood Recordings\u003c/em>\u003c/a>\u003cem>, a DJ and a former journalist.\u003c/em>\u003c/p>\n\u003cp>https://soundcloud.com/giorgiomoroder/coldplay-midnight-giorgio-moroder-remix\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Take me back to your headspace before you heard any of these remixes. If someone told you in the beginning of this year that Moroder would remix Haim and Coldplay, and that Cerrone would remix Haim, how excited would you be? How skeptical would you be?\u003c/strong>\u003c/p>\n\u003cp>This probably says a lot more about me than about either Moroder or Cerrone, but that news elicits much more skepticism than excitement. I have great respect and admiration for both Moroder and Cerrone, but I’m pretty leery of the musical comeback as a whole, and particularly wary of my heroes cashing in on renewed notoriety. There’s of course the other wrinkle, which is that I’m not especially excited by either Haim or Coldplay.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/haim-forever-giorgio-moroder\u003c/p>\n\u003cp>\u003cstrong>Do you think these remixes are byproducts of Moroder and Cerrone wanting to get back into making new music or are there a couple folks out there working at major labels who have a surprisingly large remix budget who compiled a dream list and got a few surprising “yes” answers to their inquiries?\u003c/strong>\u003c/p>\n\u003cp>If I were a betting man, I’d say its probably somewhere in between. The zeitgeist seems to be with Moroder and Cerrone lately, making it an opportune moment [for them] to reemerge from relative obscurity as the godfathers of the disco sound that birthed house, techno, EDM and, of course, Daft Punk. Those same trade winds are also pushing labels to follow suit, to say “what the hell?” and reach out to dudes like them. The fact that Moroder got \u003ca href=\"http://www.rbmaradio.com/shows/giorgio-moroder-live-at-deep-space\" target=\"_blank\" rel=\"noopener\">involved with Red Bull Music Academy\u003c/a>, \u003ca href=\"http://www.redbull.com/us/en/music/stories/1331642734762/giorgio-moroder-shuts-down-red-bull-guest-house\" target=\"_blank\" rel=\"noopener\">DJed at WMC\u003c/a> and started \u003ca href=\"https://soundcloud.com/giorgiomoroder\" target=\"_blank\" rel=\"noopener\">putting new tracks up on SoundCloud\u003c/a> in the last year or so suggests that he’s not been coerced into dusting off his synths. This is a rare second bite at the apple for two guys that look like they’d be more at home at an AARP convention than \u003ca href=\"http://electricdaisycarnival.com/\" target=\"_blank\" rel=\"noopener\">Electric Daisy Carnival\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Right, Moroder is obviously having (and enjoying) a moment. Cerrone’s re-emergence was more surprising to me.\u003c/strong>\u003c/p>\n\u003cp>To me, too. Cerrone is no less legendary, but I don’t think his celebrity ever reached the heights of Moroder’s (at least here in the U.S.). That said, his discography is thicker with jams, to my ears. That makes it all the more disappointing that his Haim remix sounds like pretty by-the-numbers funky house that could be of today’s moment or from the late 1990s. Without seeing the credits, it’s kind of hard to tell. That said, disco fans rarely get going about Moroder without talking about Cerrone. “\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>” was \u003cem>the\u003c/em> synthesizer disco track, but “\u003ca href=\"https://www.youtube.com/watch?v=QgGK4qBTwpw\" target=\"_blank\" rel=\"noopener\">Supernature\u003c/a>” is arguably a superior cut.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/if-i-could-change-your-mind\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about eurodisco re-creeping into mainstream culture. Though re-interpreting that eurodisco sound, its American counterpart and the subsequent house movement has been part of dance music for more than a decade now, some people were recently predicting that it would take over EDM or dubstep as the next huge thing (\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=E1JJd3DZLVE\" target=\"_blank\" rel=\"noopener\">\u003cstrong>as best illustrated in one of those great Hitler in the bunker videos\u003c/strong>\u003c/a>\u003cstrong>). That hasn’t happened yet and I don’t think that it will happen because it’s not aggressive enough for young listeners in the US who just want to get turnt, but maybe these remixes are a different way disco will find its way back into the mainstream.\u003c/strong>\u003c/p>\n\u003cp>I tend to agree with you. Disco has indeed been creeping for well over a decade. First there was the disco punk stuff championed by the Rapture and \u003ca href=\"http://www.npr.org/artists/15129120/lcd-soundsystem\" target=\"_blank\" rel=\"noopener\">LCD Soundsystem\u003c/a>, which was followed pretty quickly by poppier acts with a disco beat, from success stories like \u003ca href=\"http://www.npr.org/artists/15403852/the-killers\" target=\"_blank\" rel=\"noopener\">The Killers\u003c/a> to also-rans like Louis XIV. In parallel, there was \u003ca href=\"http://www.npr.org/artists/89290268/kylie-minogue\" target=\"_blank\" rel=\"noopener\">Kylie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402600/madonna\" target=\"_blank\" rel=\"noopener\">Madonna\u003c/a> bringing disco into pop. All the while the more classically minded dance music enthusiasts — be it \u003ca href=\"https://www.facebook.com/metroarea\" target=\"_blank\" rel=\"noopener\">Metro Area\u003c/a> in NYC or folks like Todd Terje and \u003ca href=\"https://soundcloud.com/prinsthomas\" target=\"_blank\" rel=\"noopener\">Prins Thomas\u003c/a> in Europe — started championing the gayer, less-white flavors of disco. For a while in the mid-’00s you couldn’t look at dance music press without hearing about nu-disco. As a trend, that ended up paving the way for a full-blown house music revival and for Daft Punk to make a pretty unabashed disco album. Now dance music is part of mainstream popular culture and there is enormous interest in the more disco and house end of the spectrum. As big as trap and dubstep are, they have not crossed over to the charts much (\u003ca href=\"http://www.npr.org/blogs/therecord/2014/03/25/293856161/a-rational-conversation-lil-jons-history-of-turning-up\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a> aside). Daft Punk, by contrast, won four Grammys.\u003c/p>\n\u003cp>As far as predicting how far the crossover can go, I think L.A. is a paradigmatic example of one way things could unfold. After Daft Punk’s big Coachella show in 2006 — and the subsequent emergence of “blog house” and acts like \u003ca href=\"http://www.npr.org/artists/16440168/justice\" target=\"_blank\" rel=\"noopener\">Justice\u003c/a> — L.A., long a backwater for dance music in America, found itself at the center of something new. There were hordes of kids interested in raving and things were going crazy. Seven or eight years later, those kids are in their mid-20s and have dug much deeper into the sound. Sure there are oodles of young people eager for EDC or \u003ca href=\"http://www.hardfest.com/\" target=\"_blank\" rel=\"noopener\">HARD Fest\u003c/a>, but there’s also incredible club nights like [A Club Called] Rhonda happening monthly and tens of thousands of kids mobbing \u003ca href=\"http://fyffest.com/\" target=\"_blank\" rel=\"noopener\">FYF\u003c/a> to see really interesting and much less mainstream electronic music.\u003c/p>\n\u003cp>Disco may not be aggressive enough for kids, but adulthood creeps up before many of us lose the desire to get turnt. When it’s less about raging and more about hanging out with friends and dancing with that cutie across the room, disco makes for a much better soundtrack. The bro-ification of EDM may also be hastening the adoption of a gentler disco-ier sound and scene.\u003c/p>\n\u003cp>\u003cstrong>Back to these specific remixes. They seem kind of boring to me. Is that just because the sounds Moroder and Cerrone are famous for have been incorporated and mined for a decades? Is it the source material (I like Haim by the way, but maybe they’re just not great to remix)? Or are the remixes just not that good?\u003c/strong>\u003c/p>\n\u003cp>I’m throwing my vote in for “just not that good.” The Coldplay track is pretty interesting for being without snares and highly electronic. Haim are tremendously talented, if not to my tastes. But the remixes just don’t do it for me. Moroder’s both feature pretty standard issue Moroder moves, plus heavy overuse of vocoders. It’s like he took a bunch of notes from \u003cem>Random Access Memories\u003c/em> and deployed them with next to no artistry. As I said before, Cerrone’s track just feels generically pumping, though the vocals do sound great.\u003c/p>\n\u003cp>\u003cstrong>Are they getting any play with DJs?\u003c/strong>\u003c/p>\n\u003cp>That’s a fair question that I’m going to have trouble answering. I don’t frequent the sorts of clubs and parties where these remixes would ever make the playlist. There is a service called \u003ca href=\"http://www.directmusicservice.com/\" target=\"_blank\" rel=\"noopener\">DMS [Direct Music Service]\u003c/a> that most of the commercial club/EDM sorts of DJs use that seems like a probably good way these remixes could get picked up by pop-oriented DJs. But I’m not a user of DMS, so I don’t know for sure. What I can say is that all three of these remixes have more plays on SoundCloud than anything that gets me excited musically — by a factor of 10 if not 100. Ultimately, these songs sound more like the kind I’d come across while sweating on a treadmill than shaking a tail feather at the clurrrb.\u003c/p>\n\u003cp>\u003cstrong>Yeah, I can’t tell if they actually get play at mainstream clubs or if they’re just for home computer listening and a way to keep Coldplay and Haim’s names in the online music press.\u003c/strong>\u003c/p>\n\u003cp>Pitchfork wrote about all three, so its a safe bet that the labels knew that a certain degree of interest could be generated by linking big contemporary acts with legendary disco producers. This interest is from quarters that generally don’t devote much attention to chart-toppers like Coldplay. But I’m sure everybody hoped that these remixes could do a “\u003ca href=\"https://www.youtube.com/watch?v=IFx3WX4DES0\" target=\"_blank\" rel=\"noopener\">Can’t Get You Out Of My Head\u003c/a>” by Kylie Minogue and just take over the pop charts and dance clubs at the same time. That song, which is 12 years old, is a much more interesting articulation of modern electronic disco than any of Moroder and Cerrone’s recent remixes. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=EDwb9jOVRtU\" target=\"_blank\" rel=\"noopener\">Hung Up\u003c/a>” by Madonna. And both were the kinds of things that cool kids could unironically love\u003c/p>\n\u003cp>\u003cstrong>Sidenote about Coldplay: I also thought that the Moroder remix was part of a ploy to get them press in the indiesphere, but in researching this idea, I saw that \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=album_reviews\" target=\"_blank\" rel=\"noopener\">\u003cstrong>every full-length of theirs has been reviewed by Pitchfork\u003c/strong>\u003c/a>\u003cstrong> and that site’s been \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=news\" target=\"_blank\" rel=\"noopener\">\u003cstrong>covering all the news from this album’s release cycle\u003c/strong>\u003c/a>\u003cstrong>. I’m not sure if that says more about the changing state of their site or the state of online music press.\u003c/strong>\u003c/p>\n\u003cp>Fair enough. Somebody at their label has been commissioning remixes for them for years. There is a pretty good remix by DFA artists \u003ca href=\"http://www.stillgoingrecords.com/\" target=\"_blank\" rel=\"noopener\">Still Going\u003c/a> that never got released that I heard five or six years ago. As for Pitchfork’s editorial policies, that’s probably a subject for another column.\u003c/p>\n\u003cp>\u003cstrong>What do you think was the purpose of these remixes from the labels’ perspective? I am sure they weren’t cheap.\u003c/strong>\u003c/p>\n\u003cp>I think its a few things: testing the market to see whether a bigger investment in Moroder and Cerrone comeback projects is merited, pushing rock acts like Coldplay and Haim to pop/dance audiences, generating earned and owned media as well as social media action for Coldplay and Haim, and they probably also reflect the lingering influence and power of Moroder and Cerrone to pull some high-visibility favors in hopes of revitalizing their careers with a new generation who doesn’t remember just how uncool disco was for most of the ’80s and ’90s. There is genuine interest in this music and these artists. The number of plays and followers on SoundCloud is impressive. Daft Punk are pop stars now, nearly 20 years after “Musique” came out.\u003c/p>\n\u003cp>http://youtu.be/tDBgbFk2d-A\u003c/p>\n\u003cp>\u003cstrong>Just how expensive do you think those remixes were?\u003c/strong>\u003c/p>\n\u003cp>It’s really hard to say. The market for remixes has not kept pace with interest, from what I’ve observed. You hear these stories about guys like \u003ca href=\"https://soundcloud.com/marckinchen\" target=\"_blank\" rel=\"noopener\">Marc Kinchen\u003c/a> \u003ca href=\"https://soundcloud.com/marckinchen\">(MK)\u003c/a> doing three or four pop and R&B remixes a week for $15,000 a pop in the mid-’90s. It was bananas back then. Nowadays, with sales as flat as they are and revenue from YouTube and streaming sites like Spotify and Beats being as modest as they are, I don’t think there is a revenue stream robust enough to sustain even a fraction of that sort of fee. That said, I’m sure Cerrone and Moroder got much more than somebody newer to success, like \u003ca href=\"https://soundcloud.com/djsnake-king\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a>, can get.\u003c/p>\n\u003cp>Underground remixes range from free to a couple thousand dollars at the upper reaches. The kinds of artists who are grinding to make a living are mostly doing so by performing \u003cem>a lot\u003c/em>. DJ fees can be enormous, especially if you have lots of social media followers. Based on the numbers around his remixes, Moroder could rake in the cash if he felt up for a busy DJ schedule. That’s a big reason why \u003ca href=\"http://www.billboard.com/biz/articles/news/digital-and-mobile/1549955/sfx-buys-beatport\">SFX bought Beatport\u003c/a> alongside all the event production companies they control. Topping the charts on Beatport is directly correlated with the fees you can command. By owning the charts and the events paying those fees, SFX can influence and game that system to their advantage. By absorbing artist management companies, they can really leverage that kind of integration.\u003c/p>\n\u003cp>\u003cstrong>Sidenote #1: \u003c/strong>\u003ca href=\"https://soundcloud.com/haimtime/haim-if-i-could-change-your\" target=\"_blank\" rel=\"noopener\">\u003cstrong>MK did a Haim remix, too.\u003c/strong>\u003c/a>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>He had a number one in the UK last year with his remix of Storm Queen’s “\u003ca href=\"https://www.youtube.com/watch?v=9c3EQhtf9-U\" target=\"_blank\" rel=\"noopener\">Look Right Through\u003c/a>.” He’s massive and massively talented. In the U.K., of course, dance music doesn’t have to sneak onto the charts disguised as rap music. Folks like \u003ca href=\"http://www.npr.org/artists/187497419/disclosure\" target=\"_blank\" rel=\"noopener\">Disclosure\u003c/a>, Jessie Ware, Hot Natured are pop stars.\u003c/p>\n\u003cp>\u003cstrong>We’ve been looking at this from a very calculated perspective, but we haven’t talked about the artists’ agency in these specific remixes. Maybe Haim and Coldplay are really into eurodisco.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. Haim’s story seems to \u003ca href=\"http://www.nytimes.com/2014/01/26/arts/music/musings-of-ariel-rechtshaid-grammy-nominee.html?_r=0\" target=\"_blank\" rel=\"noopener\">focus on their producer, Ariel Reichshaid,\u003c/a> whose management company is owned by SFX incidentally. But they also worked extensively with James Ford from \u003ca href=\"http://simianmobiledisco.co.uk/\" target=\"_blank\" rel=\"noopener\">Simian Mobile Disco\u003c/a> on their album. He’s very well known and respected in dance music, and perhaps he helped turn them on to some stuff. Haim are also very LA. Events like \u003ca href=\"https://www.facebook.com/rhondaintl\" target=\"_blank\" rel=\"noopener\">A Club Called Rhonda\u003c/a> have embraced disco to the extreme and transformed it into one of that city’s most exciting cultural phenomena. ACCR were involved with Moroder’s set at WMC, too.\u003c/p>\n\u003cp>As for Coldplay, it’s entirely possible they just love eurodisco. I don’t hear much of that in their music, but it’s possible. They also did a song called “\u003ca href=\"https://www.youtube.com/watch?v=zp7NtW_hKJI\" target=\"_blank\" rel=\"noopener\">A Sky Full of Stars\u003c/a>” with \u003ca href=\"http://avicii.com/\" target=\"_blank\" rel=\"noopener\">Avicii\u003c/a>, who Moroder has been championing. Perhaps the “Midnight” remix was the product of an ad hoc conversation between the dance music godfather and his protégé.\u003c/p>\n\u003cp>The eurodisco sound is not owned exclusively by Moroder, of course. Cool kids are shitting themselves over \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/09/310097746/todd-terje-supreme-leisure-on-the-dancefloor\">Todd Terje’s \u003cem>It’s Album Time\u003c/em>\u003c/a>, which is the culmination of many years spent by that Norwegian producer mining the cheesier corners of European disco music.\u003c/p>\n\u003cp>\u003cstrong>That Todd Terje album has the potential to win over and redirect a lot of converts. It’s an album — like \u003ca href=\"http://www.npr.org/artists/114219233/the-xx\" target=\"_blank\" rel=\"noopener\">the xx\u003c/a>‘s debut and \u003ca href=\"http://www.npr.org/artists/17093791/massive-attack\" target=\"_blank\" rel=\"noopener\">Massive Attack\u003c/a>‘s \u003cem>Mezzanine\u003c/em> — where you can imagine it getting played in every cool hotel lobby, boutique and salon in the country. At least in the ones that just don’t have someone’s iPhone or iPod on shuffle\u003c/strong>\u003c/p>\n\u003cp>Personally I find \u003cem>It’s Album Time \u003c/em>to be a bit heavy handed. Todd Terje is a completely brilliant bricoleur and he has an uncanny knack for synthesizer grooves, but the record feels kitschy in a way that the xx or \u003cem>Mezzanine\u003c/em> don’t. I’m certain it will be heavily employed by audio stylists and their ilk, but I’m guessing it won’t approach the ubiquity of \u003ca href=\"http://www.npr.org/artists/16112744/manu-chao\" target=\"_blank\" rel=\"noopener\">Manu Chao\u003c/a>‘s \u003cem>Clandestino\u003c/em> or \u003ca href=\"http://www.npr.org/artists/15190805/amadou-mariam\" target=\"_blank\" rel=\"noopener\">Amadou & Mariam\u003c/a>‘s \u003cem>Dimanche A Bamako \u003c/em>as background music for fashionable establishments. The fact that disco remains a relevant touchstone for cool kids fourteen years after its underground revival suggests that it still has legs. There’s still more four-on-the-floor cool to be pumped out.\u003c/p>\n\u003cp>\u003cstrong>There’s something interesting to take note of when acts “go back to the source” for remixes. I don’t think the practice should be discouraged and can make for some cool stuff, but the fact is, you’re never sure which stage in an artist’s career you’re getting. Cerrone and Moroder have deeeeeep catalogs, not all of which are awesome. There’s also the chance that the heritage act might not want to do to your song what you love them for. They may think they’ve progressed on to something new.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. One example of somebody going deep for a remix recently is \u003ca href=\"http://www.npr.org/artists/128629816/tame-impala\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a>, \u003ca href=\"https://soundcloud.com/modularpeople/tame-impala-elephant-todd\" target=\"_blank\" rel=\"noopener\">who got a remix of “Elephant” from Todd Rundgren\u003c/a>. And it’s pretty cool — totally fuzzed out electronic music with a glam rock stomp. But holy shit that could have gone way wrong. Rundgren is one of those dudes with a massive catalog punctuated by some amazing music. But as with Moroder and Cerrone, there is plenty of queso in there to avoid. What I like about that remix for Tame Impala is that Rundgren managed to do something that feels true to the songwriter, to himself and also feels like a step forward. Moroder and Cerrone managed to put their fingerprints all over Coldplay and Haim without saying anything new. If anything, they paraphrased their best bits poorly.\u003c/p>\n\u003cp>But then again, one of the things that made Moroder and Cerrone so badass was that they were using new tools and techniques to make new music that didn’t have obvious antecedents within the pop canon. In contrast, everything dance-y since disco owes a massive debt to them. That they were dug out of obscurity at the height of disco’s revenge to lend that golden touch — even though its hardly new, fresh, exciting, or without precedent — spells disaster to me.\u003c/p>\n\u003cp>None of this is to say they should just fade quietly into old age. If they are still excited by disco (and not just by a massive, young, scantily clad audience with their parents money to spend), then I’d like to see them push the form forward. By all means, they have chops as musicians. They know how to produce musicians. They know how to orchestrate, to make tape edits, to do things the old, labor-intensive ways. Those are skills are all but lost to new producers. I mean the EDM guys Moroder seems to love working with all crap out their tracks using a laptop and some plug ins they stole from the internet while jetting from festival to festival on charted jets. That doesn’t impress me nearly as much as Cerrone’s album \u003ca href=\"http://www.discogs.com/Kongas-Africanism/release/312263\" target=\"_blank\" rel=\"noopener\">\u003cem>Africanism\u003c/em>\u003c/a> (under the name Kongas).\u003c/p>\n\u003cp>When you go for the nostalgia remix, it’s a roll of the dice. It’s a roll of the dice with any remix commission, but with legends, its’ a lot harder to ask for changes or reject it outright. Dance music is a pretty small world and it’s not cool to shit all over the legends in the scene, even if they deserve to be shit on.\u003c/p>\n\u003cp>For my label, the only legendary character I’ve gotten a remix from is Andrew Weatherall, who is absolutely still mixing it up at the lunatic fringe of the underground. He’s been weird for so long that his sensibility more or less defines an entire scene. It was a safe bet I’d love what he would do. Turns out \u003ca href=\"https://soundcloud.com/danielavery/daniel-avery-movement-andrew\" target=\"_blank\" rel=\"noopener\">he turned in a slow mo dub mix that’s basically unplayable to a dancefloor and it’s still one of the best things I’ve ever put out\u003c/a>. Go figure.\u003c/p>\n\u003cp>\u003cstrong>It will be interesting to see the next stages to this. Are we going to see Disclosure produce the next \u003ca href=\"http://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a> album? Will Moroder produce an entire Haim album?\u003c/strong>\u003c/p>\n\u003cp>I’m as curious as you are. Disclosure are graduating out of being a crossover dance act to legitimate pop/R&B producers. I hope they continue to play with house idioms, as I think they’ve done a tremendous job translating the sound of dance music as filtered through UK pirate radio into something thoroughly modern and exciting. But they’ve also shown a real ear for good hooks and work really well with vocalists. The fact that they are \u003ca href=\"https://www.youtube.com/watch?v=n0FOPTYJPXw\" target=\"_blank\" rel=\"noopener\">working with\u003c/a> people like \u003ca href=\"http://www.npr.org/artists/15285185/mary-j-blige\" target=\"_blank\" rel=\"noopener\">Mary J. Blige\u003c/a> as well as folks from their world like Jessie Ware suggests that’s the direction they are moving.\u003c/p>\n\u003cp>As for Moroder, I’d love to see him showcase his considerable skills and talents as a composer and producer rather than make obvious retreads of his most heavily-referenced dance hits. He’s a legend for reasons that go well beyond “I Feel Love” and “\u003ca href=\"https://www.youtube.com/watch?v=V5AztWseIdU\" target=\"_blank\" rel=\"noopener\">Love to Love You Baby\u003c/a>,” and that seems to be getting lost in the frenzy around his return to the limelight. I’d rather him make film scores and produce bands like Haim than try and become a DJ.\u003c/p>\n\u003cp>\u003cstrong>We haven’t talked about is James Murphy producing \u003ca href=\"http://www.npr.org/artists/16334660/arcade-fire\" target=\"_blank\" rel=\"noopener\">Arcade Fire\u003c/a>‘s “disco album,” which didn’t go over as well as some might have hoped.\u003c/strong>\u003c/p>\n\u003cp>I’m going to preface this by saying that I really like James as a person and respect his gifts as a musician and producer. But I loathe Arcade Fire. I think the instrumental of “Reflektor” is the only tolerable thing about that entire album and it’s not something I put on my stereo. Ever.\u003c/p>\n\u003cp>I’m hoping that the album fell flat because people realized just how irritating Win Butler and Régine Chassangne are. I find her to be an intolerably awful vocalist. And this is going to sound mean spirited, but I think Arcade Fire are super unattractive. Watching them perform is painful. The bad outfits and face paint aren’t helping at all either. They are obviously talented, but \u003cem>Reflektor\u003c/em> felt like a self-indulgent affectation. The band wasn’t true to their own sound and identity, and I think audiences saw through that. James didn’t do a bad job producing, his fingerprints are all over the record, but at the end of the day, it’s the performances and the sheer awkwardness of the band that dooms them for me.\u003c/p>\n\u003cp>The whole billing themselves as “The Reflektors” seems to suggest they were uncomfortable with the whole undertaking as well. They should stick to making indie rock records. “\u003ca href=\"https://www.youtube.com/watch?v=GT1KNqLPNXM\" target=\"_blank\" rel=\"noopener\">Neighborhood #3\u003c/a>” sounded really fresh and original when it came out. I mean, I hated it then and still hate it now, but at least it sounded like them.\u003c/p>\n\u003cp>\u003cstrong>Going back a bit. You mentioned Daft Punk and their Grammy wins, and I think \u003cem>Random Access Memories\u003c/em> being a classy disco record probably has a great deal to do with why we’re having this conversation in the first place, but a lot of people were let down by that album when it was first released. Daft Punk has a history of people increasing their appreciation for their records over time, but I’m curious what the music industry will remember more, the initial tepid response after millions of dollars in promotional lead-up or the eventual multi-Grammy wins. And how will their recollection affect their faith in disco as a sound worth investing in?\u003c/strong>\u003c/p>\n\u003cp>In the end people will remember \u003cem>Random Access Memories\u003c/em> as a great pop disco record. Lots of people were a bit disappointed by the album (myself included), but they won a lot more fans than they’ve lost. And if I’m being honest, I didn’t love \u003cem>Human After All\u003c/em> either. That didn’t stop me from loving Daft Punk with the same fervor that I’ve loved them with since high school. And it didn’t stop me from seeing the Alive Tour five times. I’ve revisited \u003cem>RAM\u003c/em> a couple times in the last year and I still don’t love it, but there are moments on there for sure. “Doin’ It Right” is really good. And as an exercise in studio virtuosity, it’s pretty much unmatched in recent times. It just sounds incredible. And for the folks making investments in disco or any other cultural product, it put up big enough numbers to merit a bit of further investment. Tastes will inevitably shift and disco will go back to being beloved by its true devotees and regarded as irredeemably uncool by everybody else, even if we don’t end up with a \u003ca href=\"https://www.youtube.com/watch?v=I1CP1751wJA\" target=\"_blank\" rel=\"noopener\">Disco Sucks bonfire\u003c/a> this time around. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://youtu.be/LL-gyhZVvx0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Rational+Conversation%3A+How+Deep+Is+The+Disco+Revival%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The sound made famous by legends like Giorgio Moroder is showing up on Grammy-winning pop albums and major-label remixes, but is the renewed attention on disco anything more than nostalgia?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“A Rational Conversation” is a column by writer \u003c/em>\u003ca href=\"https://twitter.com/ericducker\" target=\"_blank\" rel=\"noopener\">\u003cem>Eric Ducker\u003c/em>\u003c/a>\u003cem> in which he gets on iChat or Gchat or the phone or whatever with a special guest to examine a music-related subject that’s entered the pop culture consciousness. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Recently eurodisco legends \u003c/em>\u003ca href=\"https://www.facebook.com/GiorgioMoroderOfficial\" target=\"_blank\" rel=\"noopener\">\u003cem>Giorgio Moroder\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://www.discogs.com/artist/16127-Cerrone\">\u003cem>Cerrone\u003c/em>\u003c/a>\u003cem> uncorked the champagne of their sound and re-emerged for some unexpected dance remixes of major rock acts. Moroder took on \u003ca href=\"http://www.npr.org/artists/15052810/coldplay\" target=\"_blank\" rel=\"noopener\">Coldplay\u003c/a>‘s “Midnight” and \u003ca href=\"http://www.npr.org/artists/211451999/haim\" target=\"_blank\" rel=\"noopener\">Haim\u003c/a>‘s “Forever,” while Cerrone went at Haim’s “If I Could Change Your Mind.” All qualify as their highest profile releases in years, if not decades.\u003c/em>\u003c/p>\n\u003cp>\u003cem>These remixes also seem like part of a larger re-embrace of sophisticated, immaculate disco sounds. This trend is probably best exemplified by \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\" target=\"_blank\" rel=\"noopener\">Daft Punk\u003c/a>‘s 2013 album \u003c/em>Random Access Memories\u003cem>, which also featured\u003c/em> \u003cem>producer and composer Moroder delivering the spoken introduction to the tribute track “\u003ca href=\"https://www.youtube.com/watch?v=5m4ZkEqQrn0&feature=kp\" target=\"_blank\" rel=\"noopener\">Giorgio by Moroder\u003c/a>.” Still, disco is a groovier and subtler form of dance music than the currently raging sounds of trap and dubstep, so it’s unclear how much young listeners will embrace it\u003c/em>\u003c/p>\n\u003cp>\u003cem>To find out what these remixes may signal and how they fit into a broader story, Ducker instant messaged with James Friedman, owner of the disco and house-leaning label \u003c/em>\u003ca href=\"http://www.throneofbloodmusic.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Throne of Blood Recordings\u003c/em>\u003c/a>\u003cem>, a DJ and a former journalist.\u003c/em>\u003c/p>\n\u003cp>https://soundcloud.com/giorgiomoroder/coldplay-midnight-giorgio-moroder-remix\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Take me back to your headspace before you heard any of these remixes. If someone told you in the beginning of this year that Moroder would remix Haim and Coldplay, and that Cerrone would remix Haim, how excited would you be? How skeptical would you be?\u003c/strong>\u003c/p>\n\u003cp>This probably says a lot more about me than about either Moroder or Cerrone, but that news elicits much more skepticism than excitement. I have great respect and admiration for both Moroder and Cerrone, but I’m pretty leery of the musical comeback as a whole, and particularly wary of my heroes cashing in on renewed notoriety. There’s of course the other wrinkle, which is that I’m not especially excited by either Haim or Coldplay.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/haim-forever-giorgio-moroder\u003c/p>\n\u003cp>\u003cstrong>Do you think these remixes are byproducts of Moroder and Cerrone wanting to get back into making new music or are there a couple folks out there working at major labels who have a surprisingly large remix budget who compiled a dream list and got a few surprising “yes” answers to their inquiries?\u003c/strong>\u003c/p>\n\u003cp>If I were a betting man, I’d say its probably somewhere in between. The zeitgeist seems to be with Moroder and Cerrone lately, making it an opportune moment [for them] to reemerge from relative obscurity as the godfathers of the disco sound that birthed house, techno, EDM and, of course, Daft Punk. Those same trade winds are also pushing labels to follow suit, to say “what the hell?” and reach out to dudes like them. The fact that Moroder got \u003ca href=\"http://www.rbmaradio.com/shows/giorgio-moroder-live-at-deep-space\" target=\"_blank\" rel=\"noopener\">involved with Red Bull Music Academy\u003c/a>, \u003ca href=\"http://www.redbull.com/us/en/music/stories/1331642734762/giorgio-moroder-shuts-down-red-bull-guest-house\" target=\"_blank\" rel=\"noopener\">DJed at WMC\u003c/a> and started \u003ca href=\"https://soundcloud.com/giorgiomoroder\" target=\"_blank\" rel=\"noopener\">putting new tracks up on SoundCloud\u003c/a> in the last year or so suggests that he’s not been coerced into dusting off his synths. This is a rare second bite at the apple for two guys that look like they’d be more at home at an AARP convention than \u003ca href=\"http://electricdaisycarnival.com/\" target=\"_blank\" rel=\"noopener\">Electric Daisy Carnival\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Right, Moroder is obviously having (and enjoying) a moment. Cerrone’s re-emergence was more surprising to me.\u003c/strong>\u003c/p>\n\u003cp>To me, too. Cerrone is no less legendary, but I don’t think his celebrity ever reached the heights of Moroder’s (at least here in the U.S.). That said, his discography is thicker with jams, to my ears. That makes it all the more disappointing that his Haim remix sounds like pretty by-the-numbers funky house that could be of today’s moment or from the late 1990s. Without seeing the credits, it’s kind of hard to tell. That said, disco fans rarely get going about Moroder without talking about Cerrone. “\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>” was \u003cem>the\u003c/em> synthesizer disco track, but “\u003ca href=\"https://www.youtube.com/watch?v=QgGK4qBTwpw\" target=\"_blank\" rel=\"noopener\">Supernature\u003c/a>” is arguably a superior cut.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/if-i-could-change-your-mind\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about eurodisco re-creeping into mainstream culture. Though re-interpreting that eurodisco sound, its American counterpart and the subsequent house movement has been part of dance music for more than a decade now, some people were recently predicting that it would take over EDM or dubstep as the next huge thing (\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=E1JJd3DZLVE\" target=\"_blank\" rel=\"noopener\">\u003cstrong>as best illustrated in one of those great Hitler in the bunker videos\u003c/strong>\u003c/a>\u003cstrong>). That hasn’t happened yet and I don’t think that it will happen because it’s not aggressive enough for young listeners in the US who just want to get turnt, but maybe these remixes are a different way disco will find its way back into the mainstream.\u003c/strong>\u003c/p>\n\u003cp>I tend to agree with you. Disco has indeed been creeping for well over a decade. First there was the disco punk stuff championed by the Rapture and \u003ca href=\"http://www.npr.org/artists/15129120/lcd-soundsystem\" target=\"_blank\" rel=\"noopener\">LCD Soundsystem\u003c/a>, which was followed pretty quickly by poppier acts with a disco beat, from success stories like \u003ca href=\"http://www.npr.org/artists/15403852/the-killers\" target=\"_blank\" rel=\"noopener\">The Killers\u003c/a> to also-rans like Louis XIV. In parallel, there was \u003ca href=\"http://www.npr.org/artists/89290268/kylie-minogue\" target=\"_blank\" rel=\"noopener\">Kylie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402600/madonna\" target=\"_blank\" rel=\"noopener\">Madonna\u003c/a> bringing disco into pop. All the while the more classically minded dance music enthusiasts — be it \u003ca href=\"https://www.facebook.com/metroarea\" target=\"_blank\" rel=\"noopener\">Metro Area\u003c/a> in NYC or folks like Todd Terje and \u003ca href=\"https://soundcloud.com/prinsthomas\" target=\"_blank\" rel=\"noopener\">Prins Thomas\u003c/a> in Europe — started championing the gayer, less-white flavors of disco. For a while in the mid-’00s you couldn’t look at dance music press without hearing about nu-disco. As a trend, that ended up paving the way for a full-blown house music revival and for Daft Punk to make a pretty unabashed disco album. Now dance music is part of mainstream popular culture and there is enormous interest in the more disco and house end of the spectrum. As big as trap and dubstep are, they have not crossed over to the charts much (\u003ca href=\"http://www.npr.org/blogs/therecord/2014/03/25/293856161/a-rational-conversation-lil-jons-history-of-turning-up\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a> aside). Daft Punk, by contrast, won four Grammys.\u003c/p>\n\u003cp>As far as predicting how far the crossover can go, I think L.A. is a paradigmatic example of one way things could unfold. After Daft Punk’s big Coachella show in 2006 — and the subsequent emergence of “blog house” and acts like \u003ca href=\"http://www.npr.org/artists/16440168/justice\" target=\"_blank\" rel=\"noopener\">Justice\u003c/a> — L.A., long a backwater for dance music in America, found itself at the center of something new. There were hordes of kids interested in raving and things were going crazy. Seven or eight years later, those kids are in their mid-20s and have dug much deeper into the sound. Sure there are oodles of young people eager for EDC or \u003ca href=\"http://www.hardfest.com/\" target=\"_blank\" rel=\"noopener\">HARD Fest\u003c/a>, but there’s also incredible club nights like [A Club Called] Rhonda happening monthly and tens of thousands of kids mobbing \u003ca href=\"http://fyffest.com/\" target=\"_blank\" rel=\"noopener\">FYF\u003c/a> to see really interesting and much less mainstream electronic music.\u003c/p>\n\u003cp>Disco may not be aggressive enough for kids, but adulthood creeps up before many of us lose the desire to get turnt. When it’s less about raging and more about hanging out with friends and dancing with that cutie across the room, disco makes for a much better soundtrack. The bro-ification of EDM may also be hastening the adoption of a gentler disco-ier sound and scene.\u003c/p>\n\u003cp>\u003cstrong>Back to these specific remixes. They seem kind of boring to me. Is that just because the sounds Moroder and Cerrone are famous for have been incorporated and mined for a decades? Is it the source material (I like Haim by the way, but maybe they’re just not great to remix)? Or are the remixes just not that good?\u003c/strong>\u003c/p>\n\u003cp>I’m throwing my vote in for “just not that good.” The Coldplay track is pretty interesting for being without snares and highly electronic. Haim are tremendously talented, if not to my tastes. But the remixes just don’t do it for me. Moroder’s both feature pretty standard issue Moroder moves, plus heavy overuse of vocoders. It’s like he took a bunch of notes from \u003cem>Random Access Memories\u003c/em> and deployed them with next to no artistry. As I said before, Cerrone’s track just feels generically pumping, though the vocals do sound great.\u003c/p>\n\u003cp>\u003cstrong>Are they getting any play with DJs?\u003c/strong>\u003c/p>\n\u003cp>That’s a fair question that I’m going to have trouble answering. I don’t frequent the sorts of clubs and parties where these remixes would ever make the playlist. There is a service called \u003ca href=\"http://www.directmusicservice.com/\" target=\"_blank\" rel=\"noopener\">DMS [Direct Music Service]\u003c/a> that most of the commercial club/EDM sorts of DJs use that seems like a probably good way these remixes could get picked up by pop-oriented DJs. But I’m not a user of DMS, so I don’t know for sure. What I can say is that all three of these remixes have more plays on SoundCloud than anything that gets me excited musically — by a factor of 10 if not 100. Ultimately, these songs sound more like the kind I’d come across while sweating on a treadmill than shaking a tail feather at the clurrrb.\u003c/p>\n\u003cp>\u003cstrong>Yeah, I can’t tell if they actually get play at mainstream clubs or if they’re just for home computer listening and a way to keep Coldplay and Haim’s names in the online music press.\u003c/strong>\u003c/p>\n\u003cp>Pitchfork wrote about all three, so its a safe bet that the labels knew that a certain degree of interest could be generated by linking big contemporary acts with legendary disco producers. This interest is from quarters that generally don’t devote much attention to chart-toppers like Coldplay. But I’m sure everybody hoped that these remixes could do a “\u003ca href=\"https://www.youtube.com/watch?v=IFx3WX4DES0\" target=\"_blank\" rel=\"noopener\">Can’t Get You Out Of My Head\u003c/a>” by Kylie Minogue and just take over the pop charts and dance clubs at the same time. That song, which is 12 years old, is a much more interesting articulation of modern electronic disco than any of Moroder and Cerrone’s recent remixes. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=EDwb9jOVRtU\" target=\"_blank\" rel=\"noopener\">Hung Up\u003c/a>” by Madonna. And both were the kinds of things that cool kids could unironically love\u003c/p>\n\u003cp>\u003cstrong>Sidenote about Coldplay: I also thought that the Moroder remix was part of a ploy to get them press in the indiesphere, but in researching this idea, I saw that \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=album_reviews\" target=\"_blank\" rel=\"noopener\">\u003cstrong>every full-length of theirs has been reviewed by Pitchfork\u003c/strong>\u003c/a>\u003cstrong> and that site’s been \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=news\" target=\"_blank\" rel=\"noopener\">\u003cstrong>covering all the news from this album’s release cycle\u003c/strong>\u003c/a>\u003cstrong>. I’m not sure if that says more about the changing state of their site or the state of online music press.\u003c/strong>\u003c/p>\n\u003cp>Fair enough. Somebody at their label has been commissioning remixes for them for years. There is a pretty good remix by DFA artists \u003ca href=\"http://www.stillgoingrecords.com/\" target=\"_blank\" rel=\"noopener\">Still Going\u003c/a> that never got released that I heard five or six years ago. As for Pitchfork’s editorial policies, that’s probably a subject for another column.\u003c/p>\n\u003cp>\u003cstrong>What do you think was the purpose of these remixes from the labels’ perspective? I am sure they weren’t cheap.\u003c/strong>\u003c/p>\n\u003cp>I think its a few things: testing the market to see whether a bigger investment in Moroder and Cerrone comeback projects is merited, pushing rock acts like Coldplay and Haim to pop/dance audiences, generating earned and owned media as well as social media action for Coldplay and Haim, and they probably also reflect the lingering influence and power of Moroder and Cerrone to pull some high-visibility favors in hopes of revitalizing their careers with a new generation who doesn’t remember just how uncool disco was for most of the ’80s and ’90s. There is genuine interest in this music and these artists. The number of plays and followers on SoundCloud is impressive. Daft Punk are pop stars now, nearly 20 years after “Musique” came out.\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/tDBgbFk2d-A'\n title='//www.youtube.com/embed/tDBgbFk2d-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Just how expensive do you think those remixes were?\u003c/strong>\u003c/p>\n\u003cp>It’s really hard to say. The market for remixes has not kept pace with interest, from what I’ve observed. You hear these stories about guys like \u003ca href=\"https://soundcloud.com/marckinchen\" target=\"_blank\" rel=\"noopener\">Marc Kinchen\u003c/a> \u003ca href=\"https://soundcloud.com/marckinchen\">(MK)\u003c/a> doing three or four pop and R&B remixes a week for $15,000 a pop in the mid-’90s. It was bananas back then. Nowadays, with sales as flat as they are and revenue from YouTube and streaming sites like Spotify and Beats being as modest as they are, I don’t think there is a revenue stream robust enough to sustain even a fraction of that sort of fee. That said, I’m sure Cerrone and Moroder got much more than somebody newer to success, like \u003ca href=\"https://soundcloud.com/djsnake-king\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a>, can get.\u003c/p>\n\u003cp>Underground remixes range from free to a couple thousand dollars at the upper reaches. The kinds of artists who are grinding to make a living are mostly doing so by performing \u003cem>a lot\u003c/em>. DJ fees can be enormous, especially if you have lots of social media followers. Based on the numbers around his remixes, Moroder could rake in the cash if he felt up for a busy DJ schedule. That’s a big reason why \u003ca href=\"http://www.billboard.com/biz/articles/news/digital-and-mobile/1549955/sfx-buys-beatport\">SFX bought Beatport\u003c/a> alongside all the event production companies they control. Topping the charts on Beatport is directly correlated with the fees you can command. By owning the charts and the events paying those fees, SFX can influence and game that system to their advantage. By absorbing artist management companies, they can really leverage that kind of integration.\u003c/p>\n\u003cp>\u003cstrong>Sidenote #1: \u003c/strong>\u003ca href=\"https://soundcloud.com/haimtime/haim-if-i-could-change-your\" target=\"_blank\" rel=\"noopener\">\u003cstrong>MK did a Haim remix, too.\u003c/strong>\u003c/a>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>He had a number one in the UK last year with his remix of Storm Queen’s “\u003ca href=\"https://www.youtube.com/watch?v=9c3EQhtf9-U\" target=\"_blank\" rel=\"noopener\">Look Right Through\u003c/a>.” He’s massive and massively talented. In the U.K., of course, dance music doesn’t have to sneak onto the charts disguised as rap music. Folks like \u003ca href=\"http://www.npr.org/artists/187497419/disclosure\" target=\"_blank\" rel=\"noopener\">Disclosure\u003c/a>, Jessie Ware, Hot Natured are pop stars.\u003c/p>\n\u003cp>\u003cstrong>We’ve been looking at this from a very calculated perspective, but we haven’t talked about the artists’ agency in these specific remixes. Maybe Haim and Coldplay are really into eurodisco.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. Haim’s story seems to \u003ca href=\"http://www.nytimes.com/2014/01/26/arts/music/musings-of-ariel-rechtshaid-grammy-nominee.html?_r=0\" target=\"_blank\" rel=\"noopener\">focus on their producer, Ariel Reichshaid,\u003c/a> whose management company is owned by SFX incidentally. But they also worked extensively with James Ford from \u003ca href=\"http://simianmobiledisco.co.uk/\" target=\"_blank\" rel=\"noopener\">Simian Mobile Disco\u003c/a> on their album. He’s very well known and respected in dance music, and perhaps he helped turn them on to some stuff. Haim are also very LA. Events like \u003ca href=\"https://www.facebook.com/rhondaintl\" target=\"_blank\" rel=\"noopener\">A Club Called Rhonda\u003c/a> have embraced disco to the extreme and transformed it into one of that city’s most exciting cultural phenomena. ACCR were involved with Moroder’s set at WMC, too.\u003c/p>\n\u003cp>As for Coldplay, it’s entirely possible they just love eurodisco. I don’t hear much of that in their music, but it’s possible. They also did a song called “\u003ca href=\"https://www.youtube.com/watch?v=zp7NtW_hKJI\" target=\"_blank\" rel=\"noopener\">A Sky Full of Stars\u003c/a>” with \u003ca href=\"http://avicii.com/\" target=\"_blank\" rel=\"noopener\">Avicii\u003c/a>, who Moroder has been championing. Perhaps the “Midnight” remix was the product of an ad hoc conversation between the dance music godfather and his protégé.\u003c/p>\n\u003cp>The eurodisco sound is not owned exclusively by Moroder, of course. Cool kids are shitting themselves over \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/09/310097746/todd-terje-supreme-leisure-on-the-dancefloor\">Todd Terje’s \u003cem>It’s Album Time\u003c/em>\u003c/a>, which is the culmination of many years spent by that Norwegian producer mining the cheesier corners of European disco music.\u003c/p>\n\u003cp>\u003cstrong>That Todd Terje album has the potential to win over and redirect a lot of converts. It’s an album — like \u003ca href=\"http://www.npr.org/artists/114219233/the-xx\" target=\"_blank\" rel=\"noopener\">the xx\u003c/a>‘s debut and \u003ca href=\"http://www.npr.org/artists/17093791/massive-attack\" target=\"_blank\" rel=\"noopener\">Massive Attack\u003c/a>‘s \u003cem>Mezzanine\u003c/em> — where you can imagine it getting played in every cool hotel lobby, boutique and salon in the country. At least in the ones that just don’t have someone’s iPhone or iPod on shuffle\u003c/strong>\u003c/p>\n\u003cp>Personally I find \u003cem>It’s Album Time \u003c/em>to be a bit heavy handed. Todd Terje is a completely brilliant bricoleur and he has an uncanny knack for synthesizer grooves, but the record feels kitschy in a way that the xx or \u003cem>Mezzanine\u003c/em> don’t. I’m certain it will be heavily employed by audio stylists and their ilk, but I’m guessing it won’t approach the ubiquity of \u003ca href=\"http://www.npr.org/artists/16112744/manu-chao\" target=\"_blank\" rel=\"noopener\">Manu Chao\u003c/a>‘s \u003cem>Clandestino\u003c/em> or \u003ca href=\"http://www.npr.org/artists/15190805/amadou-mariam\" target=\"_blank\" rel=\"noopener\">Amadou & Mariam\u003c/a>‘s \u003cem>Dimanche A Bamako \u003c/em>as background music for fashionable establishments. The fact that disco remains a relevant touchstone for cool kids fourteen years after its underground revival suggests that it still has legs. There’s still more four-on-the-floor cool to be pumped out.\u003c/p>\n\u003cp>\u003cstrong>There’s something interesting to take note of when acts “go back to the source” for remixes. I don’t think the practice should be discouraged and can make for some cool stuff, but the fact is, you’re never sure which stage in an artist’s career you’re getting. Cerrone and Moroder have deeeeeep catalogs, not all of which are awesome. There’s also the chance that the heritage act might not want to do to your song what you love them for. They may think they’ve progressed on to something new.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. One example of somebody going deep for a remix recently is \u003ca href=\"http://www.npr.org/artists/128629816/tame-impala\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a>, \u003ca href=\"https://soundcloud.com/modularpeople/tame-impala-elephant-todd\" target=\"_blank\" rel=\"noopener\">who got a remix of “Elephant” from Todd Rundgren\u003c/a>. And it’s pretty cool — totally fuzzed out electronic music with a glam rock stomp. But holy shit that could have gone way wrong. Rundgren is one of those dudes with a massive catalog punctuated by some amazing music. But as with Moroder and Cerrone, there is plenty of queso in there to avoid. What I like about that remix for Tame Impala is that Rundgren managed to do something that feels true to the songwriter, to himself and also feels like a step forward. Moroder and Cerrone managed to put their fingerprints all over Coldplay and Haim without saying anything new. If anything, they paraphrased their best bits poorly.\u003c/p>\n\u003cp>But then again, one of the things that made Moroder and Cerrone so badass was that they were using new tools and techniques to make new music that didn’t have obvious antecedents within the pop canon. In contrast, everything dance-y since disco owes a massive debt to them. That they were dug out of obscurity at the height of disco’s revenge to lend that golden touch — even though its hardly new, fresh, exciting, or without precedent — spells disaster to me.\u003c/p>\n\u003cp>None of this is to say they should just fade quietly into old age. If they are still excited by disco (and not just by a massive, young, scantily clad audience with their parents money to spend), then I’d like to see them push the form forward. By all means, they have chops as musicians. They know how to produce musicians. They know how to orchestrate, to make tape edits, to do things the old, labor-intensive ways. Those are skills are all but lost to new producers. I mean the EDM guys Moroder seems to love working with all crap out their tracks using a laptop and some plug ins they stole from the internet while jetting from festival to festival on charted jets. That doesn’t impress me nearly as much as Cerrone’s album \u003ca href=\"http://www.discogs.com/Kongas-Africanism/release/312263\" target=\"_blank\" rel=\"noopener\">\u003cem>Africanism\u003c/em>\u003c/a> (under the name Kongas).\u003c/p>\n\u003cp>When you go for the nostalgia remix, it’s a roll of the dice. It’s a roll of the dice with any remix commission, but with legends, its’ a lot harder to ask for changes or reject it outright. Dance music is a pretty small world and it’s not cool to shit all over the legends in the scene, even if they deserve to be shit on.\u003c/p>\n\u003cp>For my label, the only legendary character I’ve gotten a remix from is Andrew Weatherall, who is absolutely still mixing it up at the lunatic fringe of the underground. He’s been weird for so long that his sensibility more or less defines an entire scene. It was a safe bet I’d love what he would do. Turns out \u003ca href=\"https://soundcloud.com/danielavery/daniel-avery-movement-andrew\" target=\"_blank\" rel=\"noopener\">he turned in a slow mo dub mix that’s basically unplayable to a dancefloor and it’s still one of the best things I’ve ever put out\u003c/a>. Go figure.\u003c/p>\n\u003cp>\u003cstrong>It will be interesting to see the next stages to this. Are we going to see Disclosure produce the next \u003ca href=\"http://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a> album? Will Moroder produce an entire Haim album?\u003c/strong>\u003c/p>\n\u003cp>I’m as curious as you are. Disclosure are graduating out of being a crossover dance act to legitimate pop/R&B producers. I hope they continue to play with house idioms, as I think they’ve done a tremendous job translating the sound of dance music as filtered through UK pirate radio into something thoroughly modern and exciting. But they’ve also shown a real ear for good hooks and work really well with vocalists. The fact that they are \u003ca href=\"https://www.youtube.com/watch?v=n0FOPTYJPXw\" target=\"_blank\" rel=\"noopener\">working with\u003c/a> people like \u003ca href=\"http://www.npr.org/artists/15285185/mary-j-blige\" target=\"_blank\" rel=\"noopener\">Mary J. Blige\u003c/a> as well as folks from their world like Jessie Ware suggests that’s the direction they are moving.\u003c/p>\n\u003cp>As for Moroder, I’d love to see him showcase his considerable skills and talents as a composer and producer rather than make obvious retreads of his most heavily-referenced dance hits. He’s a legend for reasons that go well beyond “I Feel Love” and “\u003ca href=\"https://www.youtube.com/watch?v=V5AztWseIdU\" target=\"_blank\" rel=\"noopener\">Love to Love You Baby\u003c/a>,” and that seems to be getting lost in the frenzy around his return to the limelight. I’d rather him make film scores and produce bands like Haim than try and become a DJ.\u003c/p>\n\u003cp>\u003cstrong>We haven’t talked about is James Murphy producing \u003ca href=\"http://www.npr.org/artists/16334660/arcade-fire\" target=\"_blank\" rel=\"noopener\">Arcade Fire\u003c/a>‘s “disco album,” which didn’t go over as well as some might have hoped.\u003c/strong>\u003c/p>\n\u003cp>I’m going to preface this by saying that I really like James as a person and respect his gifts as a musician and producer. But I loathe Arcade Fire. I think the instrumental of “Reflektor” is the only tolerable thing about that entire album and it’s not something I put on my stereo. Ever.\u003c/p>\n\u003cp>I’m hoping that the album fell flat because people realized just how irritating Win Butler and Régine Chassangne are. I find her to be an intolerably awful vocalist. And this is going to sound mean spirited, but I think Arcade Fire are super unattractive. Watching them perform is painful. The bad outfits and face paint aren’t helping at all either. They are obviously talented, but \u003cem>Reflektor\u003c/em> felt like a self-indulgent affectation. The band wasn’t true to their own sound and identity, and I think audiences saw through that. James didn’t do a bad job producing, his fingerprints are all over the record, but at the end of the day, it’s the performances and the sheer awkwardness of the band that dooms them for me.\u003c/p>\n\u003cp>The whole billing themselves as “The Reflektors” seems to suggest they were uncomfortable with the whole undertaking as well. They should stick to making indie rock records. “\u003ca href=\"https://www.youtube.com/watch?v=GT1KNqLPNXM\" target=\"_blank\" rel=\"noopener\">Neighborhood #3\u003c/a>” sounded really fresh and original when it came out. I mean, I hated it then and still hate it now, but at least it sounded like them.\u003c/p>\n\u003cp>\u003cstrong>Going back a bit. You mentioned Daft Punk and their Grammy wins, and I think \u003cem>Random Access Memories\u003c/em> being a classy disco record probably has a great deal to do with why we’re having this conversation in the first place, but a lot of people were let down by that album when it was first released. Daft Punk has a history of people increasing their appreciation for their records over time, but I’m curious what the music industry will remember more, the initial tepid response after millions of dollars in promotional lead-up or the eventual multi-Grammy wins. And how will their recollection affect their faith in disco as a sound worth investing in?\u003c/strong>\u003c/p>\n\u003cp>In the end people will remember \u003cem>Random Access Memories\u003c/em> as a great pop disco record. Lots of people were a bit disappointed by the album (myself included), but they won a lot more fans than they’ve lost. And if I’m being honest, I didn’t love \u003cem>Human After All\u003c/em> either. That didn’t stop me from loving Daft Punk with the same fervor that I’ve loved them with since high school. And it didn’t stop me from seeing the Alive Tour five times. I’ve revisited \u003cem>RAM\u003c/em> a couple times in the last year and I still don’t love it, but there are moments on there for sure. “Doin’ It Right” is really good. And as an exercise in studio virtuosity, it’s pretty much unmatched in recent times. It just sounds incredible. And for the folks making investments in disco or any other cultural product, it put up big enough numbers to merit a bit of further investment. Tastes will inevitably shift and disco will go back to being beloved by its true devotees and regarded as irredeemably uncool by everybody else, even if we don’t end up with a \u003ca href=\"https://www.youtube.com/watch?v=I1CP1751wJA\" target=\"_blank\" rel=\"noopener\">Disco Sucks bonfire\u003c/a> this time around. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oscar-Winning Director Malik Bendjelloul Dies at 36",
"headTitle": "Oscar-Winning Director Malik Bendjelloul Dies at 36 | KQED",
"content": "\u003cp>Swedish director Malik Bendjelloul, who won an Oscar last year for his 2012 documentary \u003cem>Searching for Sugar Man\u003c/em>, has been found dead in Stockholm at age 36, police and family members confirm.\u003c/p>\n\u003cp>Reuters reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Stockholm police declined to provide any further details about Bendjelloul’s death.”\u003c/p>\n\u003cp>“‘What I can say is that there are no suspicions any crime was involved,’ Stockholm police duty officer Pia Glenvik said.\u003c/p>\n\u003cp>“Bendjelloul won an Oscar in 2013 as a first-time filmmaker for \u003cem>Searching for Sugar Man\u003c/em>. The film followed two South African journalists who set out to find what had become of Sixto Rodriguez, an American singer who was popular in South Africa who seemingly vanished without a trace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/oscar-winning-director-of-searching-for-sugar-man-found-dead-1201179913/\">Variety says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“Born in Sweden, Bendjelloul appeared on TV as a child and then studied journalism and media production. He produced music documentaries for Swedish television and worked as a TV reporter before leaving to travel in Africa and South America.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Oscar-Winning+Director+Malik+Bendjelloul+Dies+At+36&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>Swedish director Malik Bendjelloul, who won an Oscar last year for his 2012 documentary \u003cem>Searching for Sugar Man\u003c/em>, has been found dead in Stockholm at age 36, police and family members confirm.\u003c/p>\n\u003cp>Reuters reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Stockholm police declined to provide any further details about Bendjelloul’s death.”\u003c/p>\n\u003cp>“‘What I can say is that there are no suspicions any crime was involved,’ Stockholm police duty officer Pia Glenvik said.\u003c/p>\n\u003cp>“Bendjelloul won an Oscar in 2013 as a first-time filmmaker for \u003cem>Searching for Sugar Man\u003c/em>. The film followed two South African journalists who set out to find what had become of Sixto Rodriguez, an American singer who was popular in South Africa who seemingly vanished without a trace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/oscar-winning-director-of-searching-for-sugar-man-found-dead-1201179913/\">Variety says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“Born in Sweden, Bendjelloul appeared on TV as a child and then studied journalism and media production. He produced music documentaries for Swedish television and worked as a TV reporter before leaving to travel in Africa and South America.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Oscar-Winning+Director+Malik+Bendjelloul+Dies+At+36&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Thanks H.R. Giger for All the Sleepless Nights",
"headTitle": "Thanks H.R. Giger for All the Sleepless Nights | KQED",
"content": "\u003cp>H.R. Giger was the guy who made me sleep with the lights on for years.\u003c/p>\n\u003cp>The iconic Swiss painter and sculptor, who died yesterday at the age of 74, reportedly suffered from night terrors for much of his life, so perhaps his inimitable art was his revenge upon the world. He is usually called a “surrealist,” but millions of people who couldn’t name another one of those knew him as the guy who created the titular beast for Ridley Scott’s classic 1979 horror film \u003cem>Alien\u003c/em> — a dripping, phallic insect with a long, serrated tail and a spring-loaded second jaw that shoots out of its glistening mouth. A thing with teeth inside of a thing with teeth.\u003c/p>\n\u003cp>You wouldn’t expect this particular creation to become a consensus candidate, but it did. Decades after \u003cem>Alien\u003c/em> hit theatres (the picture will turn 35 Memorial Day weekend), the creature’s status as the cinema’s most nightmarish beast is untouched. Even subsequent movie monsters designed by Giger, who became a hot commodity after \u003cem>Alien\u003c/em>, can’t come close.\u003c/p>\n\u003cp>Giger was in his late thirties when Scott hired him to create not just a monster (based on the one seen in Giger’s painting “Necronomicon IV”), but to design much of the film surrounding it. Giger created the first half of his creature’s two-stage life-cycle — the crab-like “facehugger” that affixes itself to its victim’s face and then implants a fast-maturing embryo inside the host’s abdomen that will later explode from the chest.\u003c/p>\n\u003cfigure id=\"attachment_10135952\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\" alt=\"The "chestburster" is one of the many deeply unsettling images of 1979's Alien, probably the best-known work of designer H.R. Giger. Giger's original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “chestburster” is one of the many deeply unsettling images of 1979’s Alien, probably the best-known work of designer H.R. Giger. Giger’s original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others. \u003ccite>(20th Century Fox/PictureDesk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also designed the horseshoe-shapted alien craft where the unlucky crew of the Earth-based freighter Nostromo encounters a patch of sweaty, translucent eggs. Those were his designs, too. Like many of the creatures in Giger’s paintings, these elements all seemed to posit a technology wherein rib cages and sex organs of both genders were the primary building materials. (\u003cem>Alien\u003c/em> won an Oscar for its visual effects; it was nominated for art direction but lost to \u003cem>All That Jazz\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scott’s disappointing 2012 film \u003cem>Prometheus\u003c/em> was an attempt to answer \u003cem>Alien\u003c/em> fans’ decades-old questions about the race of creatures to whom this ship belonged. As is so often the case, \u003ca href=\"http://www.npr.org/blogs/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\">the solution felt matter-of-fact where the mystery had felt vast and unknowable\u003c/a>. Almost inevitably, \u003ca href=\"http://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\">the film was a letdown\u003c/a>.\u003c/p>\n\u003cp>The cliche about the makers of violent, horrific or sexually extreme creative work is that they’re sweetest, most approachable people you could ever meet. Giger was emphatically not that. The reason his interview segments on the \u003cem>Alien\u003c/em> Anthology DVD/Blu Ray box sets remain a touchstone in geek circles is that Giger comes off as an even more frightening weirdo savant than his work would indicate. Pasty and pale and prematurely gray, dressed all in black, his Swiss-accented English dropping inflections in all the wrong places, and seated, naturally, in a high-backed chair that looks like it was assembled from the spinal columns of gorillas, he delivers the goods.\u003c/p>\n\u003cp>He pronounces dinosaur like “dine-oh-sour.”\u003c/p>\n\u003cp>He says stuff like this: “The light, it hurts me. If you have too much sun, then you will be in the shadow. And I like always to be in the shadow, in the dark.”\u003c/p>\n\u003cp>That’s a rough transcription. He has a tendency to let his sentences trail off.\u003c/p>\n\u003cp>Naturally, he fondles a pussycat, like the one whose hiss and slow retreat signals the mature, full-size alien’s entrance — a majestic, slow descent into frame from the ceiling, about 60 percent of the way through the movie.\u003c/p>\n\u003cp>Matt Gourley, one of the creators of the brilliant comedy podcast Superego, has a recurring bit where he uses his uncanny Giger impression to put this kinky vampire in mundane domestic situations, like when his son needs him to sign a school permission slip and Giger won’t stop saying things like, “I made an acoustic sex fetus!” My favorite one is where he reads \u003cem>The Night Before Christmas\u003c/em> as Giger. “Let’s skip ahead to where they die,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alien\u003c/em> largely follows the \u003cem>Jaws\u003c/em> rule, withholding a full, clear view of the creature until late in the film. But the fright-embryo is implanted in your belly long before that, churning in your intestines, long before we see it, because of the terrifying visit to that Giger-designed \u003cem>Alien\u003c/em> ship in the first act of the picture. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Thanks+To+H.R.+Giger%2C+For+All+The+Sleepless+Nights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>H.R. Giger was the guy who made me sleep with the lights on for years.\u003c/p>\n\u003cp>The iconic Swiss painter and sculptor, who died yesterday at the age of 74, reportedly suffered from night terrors for much of his life, so perhaps his inimitable art was his revenge upon the world. He is usually called a “surrealist,” but millions of people who couldn’t name another one of those knew him as the guy who created the titular beast for Ridley Scott’s classic 1979 horror film \u003cem>Alien\u003c/em> — a dripping, phallic insect with a long, serrated tail and a spring-loaded second jaw that shoots out of its glistening mouth. A thing with teeth inside of a thing with teeth.\u003c/p>\n\u003cp>You wouldn’t expect this particular creation to become a consensus candidate, but it did. Decades after \u003cem>Alien\u003c/em> hit theatres (the picture will turn 35 Memorial Day weekend), the creature’s status as the cinema’s most nightmarish beast is untouched. Even subsequent movie monsters designed by Giger, who became a hot commodity after \u003cem>Alien\u003c/em>, can’t come close.\u003c/p>\n\u003cp>Giger was in his late thirties when Scott hired him to create not just a monster (based on the one seen in Giger’s painting “Necronomicon IV”), but to design much of the film surrounding it. Giger created the first half of his creature’s two-stage life-cycle — the crab-like “facehugger” that affixes itself to its victim’s face and then implants a fast-maturing embryo inside the host’s abdomen that will later explode from the chest.\u003c/p>\n\u003cfigure id=\"attachment_10135952\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\" alt=\"The "chestburster" is one of the many deeply unsettling images of 1979's Alien, probably the best-known work of designer H.R. Giger. Giger's original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “chestburster” is one of the many deeply unsettling images of 1979’s Alien, probably the best-known work of designer H.R. Giger. Giger’s original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others. \u003ccite>(20th Century Fox/PictureDesk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also designed the horseshoe-shapted alien craft where the unlucky crew of the Earth-based freighter Nostromo encounters a patch of sweaty, translucent eggs. Those were his designs, too. Like many of the creatures in Giger’s paintings, these elements all seemed to posit a technology wherein rib cages and sex organs of both genders were the primary building materials. (\u003cem>Alien\u003c/em> won an Oscar for its visual effects; it was nominated for art direction but lost to \u003cem>All That Jazz\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scott’s disappointing 2012 film \u003cem>Prometheus\u003c/em> was an attempt to answer \u003cem>Alien\u003c/em> fans’ decades-old questions about the race of creatures to whom this ship belonged. As is so often the case, \u003ca href=\"http://www.npr.org/blogs/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\">the solution felt matter-of-fact where the mystery had felt vast and unknowable\u003c/a>. Almost inevitably, \u003ca href=\"http://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\">the film was a letdown\u003c/a>.\u003c/p>\n\u003cp>The cliche about the makers of violent, horrific or sexually extreme creative work is that they’re sweetest, most approachable people you could ever meet. Giger was emphatically not that. The reason his interview segments on the \u003cem>Alien\u003c/em> Anthology DVD/Blu Ray box sets remain a touchstone in geek circles is that Giger comes off as an even more frightening weirdo savant than his work would indicate. Pasty and pale and prematurely gray, dressed all in black, his Swiss-accented English dropping inflections in all the wrong places, and seated, naturally, in a high-backed chair that looks like it was assembled from the spinal columns of gorillas, he delivers the goods.\u003c/p>\n\u003cp>He pronounces dinosaur like “dine-oh-sour.”\u003c/p>\n\u003cp>He says stuff like this: “The light, it hurts me. If you have too much sun, then you will be in the shadow. And I like always to be in the shadow, in the dark.”\u003c/p>\n\u003cp>That’s a rough transcription. He has a tendency to let his sentences trail off.\u003c/p>\n\u003cp>Naturally, he fondles a pussycat, like the one whose hiss and slow retreat signals the mature, full-size alien’s entrance — a majestic, slow descent into frame from the ceiling, about 60 percent of the way through the movie.\u003c/p>\n\u003cp>Matt Gourley, one of the creators of the brilliant comedy podcast Superego, has a recurring bit where he uses his uncanny Giger impression to put this kinky vampire in mundane domestic situations, like when his son needs him to sign a school permission slip and Giger won’t stop saying things like, “I made an acoustic sex fetus!” My favorite one is where he reads \u003cem>The Night Before Christmas\u003c/em> as Giger. “Let’s skip ahead to where they die,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alien\u003c/em> largely follows the \u003cem>Jaws\u003c/em> rule, withholding a full, clear view of the creature until late in the film. But the fright-embryo is implanted in your belly long before that, churning in your intestines, long before we see it, because of the terrifying visit to that Giger-designed \u003cem>Alien\u003c/em> ship in the first act of the picture. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Thanks+To+H.R.+Giger%2C+For+All+The+Sleepless+Nights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Recall That Ice Cream Truck Song? We Have Unpleasant News For You",
"headTitle": "Recall That Ice Cream Truck Song? We Have Unpleasant News For You | KQED",
"content": "\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=Ebh6x6Bze_0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The answer is intellectually complex, but parental intuition provides clarity. When teeth fall out, I blame the dollar under their pillow on the tooth fairy. When presents appear overnight under the fir tree, I say Santa Claus is the culprit. And so when a song about n******s and watermelon fills the suburban air, I will smile and hand over money from my pocket. The sight of my children enjoying a Good Humor ice cream bar will fight back the racist song that lampooned black people who happened to be in good humor. The delivery of the cold hard truth can wait until another day.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Recall+That+Ice+Cream+Truck+Song%3F+We+Have+Unpleasant+News+For+You&utme=8(APIKey)9(MDA1OTI3MjQ5MDEyODUwMTE2MzM1YzNmZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\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/Ebh6x6Bze_0'\n title='//www.youtube.com/embed/Ebh6x6Bze_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The answer is intellectually complex, but parental intuition provides clarity. When teeth fall out, I blame the dollar under their pillow on the tooth fairy. When presents appear overnight under the fir tree, I say Santa Claus is the culprit. And so when a song about n******s and watermelon fills the suburban air, I will smile and hand over money from my pocket. The sight of my children enjoying a Good Humor ice cream bar will fight back the racist song that lampooned black people who happened to be in good humor. The delivery of the cold hard truth can wait until another day.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Recall+That+Ice+Cream+Truck+Song%3F+We+Have+Unpleasant+News+For+You&utme=8(APIKey)9(MDA1OTI3MjQ5MDEyODUwMTE2MzM1YzNmZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oberst Finds New Takes on Old Themes for 'Upside Down Mountain'",
"headTitle": "Oberst Finds New Takes on Old Themes for ‘Upside Down Mountain’ | KQED",
"content": "\u003cp>You probably haven’t been waiting around for some singer-songwriter to update Harry Chapin’s inescapable 1974 hit “Cat’s In the Cradle,” the slightly cloying tune about the changing dynamic between parents and children over time. And if you did happen to be waiting for such a song, you probably wouldn’t put \u003ca href=\"http://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>, noted sensitive indie-rock soul, in charge of writing it. Let’s face it: Even if you’re an obsessive Oberst fan — a follower of \u003ca href=\"http://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, Desaparecidos and assorted other projects — this wouldn’t likely rank high on the list of Songs You Wish Conor Oberst Would Write.\u003c/p>\n\u003cp>Which is one surprise, among many, in “You Are Your Mother’s Child,” from Oberst’s artful and beautifully realized \u003cem>Upside Down Mountain\u003c/em>. Here we have a tired, heartstring-tugging trope from the 1970s resurrected as something lucid and disarmingly poignant. Something that can sneak right inside the most cynical heart and melt the layers.\u003c/p>\n\u003cp>Singing in the wavering, edge-of-emotion tone that is his trademark, Oberst follows the stages of a young life (“Halloween costume, lookin’ real cute”) with the fond, measured regard of the cool parent. He knows how to be sentimental — some of the most gorgeous music on \u003cem>Upside Down Mountain\u003c/em> comes from the perspective of love’s stinging aftermath — but here he attempts restraint, slipping details into the verses the way a documentary filmmaker would. He’s all sly and “aw-shucks” in the lyric writing, trusting that the subject matter, and the deft transitions from specific moments to general observations (“fear, that’s a big emotion”), will bring the narrative home. It does.\u003c/p>\n\u003cp>It’s a small song, in the scheme of things, but it illustrates a large idea about Oberst as a songwriter: He knows how to work a conceit. Starting from what can seem like a slight kernel of an idea, he draws his listeners patiently into each of his narrative worlds, one curiosity-activating line at a time. The album’s opening couplet, delivered over a single fervently strummed acoustic guitar chord, is typical: “Polished my shoes, I bought a brand new hat, moved to a town that time forgot / where I don’t have to shave or be approachable / No, I can do just what I want.” Fairly stock life-in-transition stuff, right? So what does this wandering soul want? The next line: “I want to walk in a howling wind ’til it scatters all my thoughts…” Just like that, we’ve gone from an ordinary country-rock rambler scene into something more multidimensional and novelistic. Who longs to be out in a howling wind?\u003c/p>\n\u003cp>\u003cem>Upside Down Mountain\u003c/em> suggests that Oberst is growing, rapidly, as a craftsman. It’s the first truly intimate set of songs he’s offered in a while — really since his 2008 eponymous gem, though contemplative moments seeped into 2009’s \u003cem>Outer South\u003c/em>, which he recorded with the Mystic Valley Band. Oberst visits some of the rowdy backbeats of those previous works, but even in the driving rock tracks (the \u003ca href=\"http://www.npr.org/artists/15050998/neil-young\">Neil Young\u003c/a>-ish “Zigzagging Toward the Light”), he’s brokering interior thoughts, choosing clusters of words for the ways they thrive, or sometimes disappear, inside the sonic swirl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With help from several producers, including \u003ca href=\"http://www.npr.org/templates/search/index.php?searchinput=jonathan+wilson\">Jonathan Wilson\u003c/a>, Oberst seeks out vivid and frequently counter-intuitive contrasts between the messages of the songs and the surrounding instrumental atmospheres. One example: On the surface, the riffing horns and striding beats of “Hundreds of Ways” radiate a kind of parade-day joviality. Get inside the song, though, and you realize Oberst is talking about what it means to contend with dark, possibly unwelcome memories when everyone else seems to be sashaying through life. The very next track, “Artifact #1,” delves further into the muddy pools and quagmires of memory, examining what it means to hold onto the last glimmer of a great and vanished love. It’s a stunning one-two punch, one of those rare album moments where two works grow more profound as a result of their proximity to each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Oberst has been at this songwriting thing for a while. He’s shown an uncommon knack for observation and, at times, a willingness to funnel those observations into sturdy if perfectly ordinary vessels — songs that teeter toward the generic. What’s impressive about \u003cem>Upside Down Mountain\u003c/em> is how effortless it feels. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You probably haven’t been waiting around for some singer-songwriter to update Harry Chapin’s inescapable 1974 hit “Cat’s In the Cradle,” the slightly cloying tune about the changing dynamic between parents and children over time. And if you did happen to be waiting for such a song, you probably wouldn’t put \u003ca href=\"http://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>, noted sensitive indie-rock soul, in charge of writing it. Let’s face it: Even if you’re an obsessive Oberst fan — a follower of \u003ca href=\"http://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, Desaparecidos and assorted other projects — this wouldn’t likely rank high on the list of Songs You Wish Conor Oberst Would Write.\u003c/p>\n\u003cp>Which is one surprise, among many, in “You Are Your Mother’s Child,” from Oberst’s artful and beautifully realized \u003cem>Upside Down Mountain\u003c/em>. Here we have a tired, heartstring-tugging trope from the 1970s resurrected as something lucid and disarmingly poignant. Something that can sneak right inside the most cynical heart and melt the layers.\u003c/p>\n\u003cp>Singing in the wavering, edge-of-emotion tone that is his trademark, Oberst follows the stages of a young life (“Halloween costume, lookin’ real cute”) with the fond, measured regard of the cool parent. He knows how to be sentimental — some of the most gorgeous music on \u003cem>Upside Down Mountain\u003c/em> comes from the perspective of love’s stinging aftermath — but here he attempts restraint, slipping details into the verses the way a documentary filmmaker would. He’s all sly and “aw-shucks” in the lyric writing, trusting that the subject matter, and the deft transitions from specific moments to general observations (“fear, that’s a big emotion”), will bring the narrative home. It does.\u003c/p>\n\u003cp>It’s a small song, in the scheme of things, but it illustrates a large idea about Oberst as a songwriter: He knows how to work a conceit. Starting from what can seem like a slight kernel of an idea, he draws his listeners patiently into each of his narrative worlds, one curiosity-activating line at a time. The album’s opening couplet, delivered over a single fervently strummed acoustic guitar chord, is typical: “Polished my shoes, I bought a brand new hat, moved to a town that time forgot / where I don’t have to shave or be approachable / No, I can do just what I want.” Fairly stock life-in-transition stuff, right? So what does this wandering soul want? The next line: “I want to walk in a howling wind ’til it scatters all my thoughts…” Just like that, we’ve gone from an ordinary country-rock rambler scene into something more multidimensional and novelistic. Who longs to be out in a howling wind?\u003c/p>\n\u003cp>\u003cem>Upside Down Mountain\u003c/em> suggests that Oberst is growing, rapidly, as a craftsman. It’s the first truly intimate set of songs he’s offered in a while — really since his 2008 eponymous gem, though contemplative moments seeped into 2009’s \u003cem>Outer South\u003c/em>, which he recorded with the Mystic Valley Band. Oberst visits some of the rowdy backbeats of those previous works, but even in the driving rock tracks (the \u003ca href=\"http://www.npr.org/artists/15050998/neil-young\">Neil Young\u003c/a>-ish “Zigzagging Toward the Light”), he’s brokering interior thoughts, choosing clusters of words for the ways they thrive, or sometimes disappear, inside the sonic swirl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With help from several producers, including \u003ca href=\"http://www.npr.org/templates/search/index.php?searchinput=jonathan+wilson\">Jonathan Wilson\u003c/a>, Oberst seeks out vivid and frequently counter-intuitive contrasts between the messages of the songs and the surrounding instrumental atmospheres. One example: On the surface, the riffing horns and striding beats of “Hundreds of Ways” radiate a kind of parade-day joviality. Get inside the song, though, and you realize Oberst is talking about what it means to contend with dark, possibly unwelcome memories when everyone else seems to be sashaying through life. The very next track, “Artifact #1,” delves further into the muddy pools and quagmires of memory, examining what it means to hold onto the last glimmer of a great and vanished love. It’s a stunning one-two punch, one of those rare album moments where two works grow more profound as a result of their proximity to each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Oberst has been at this songwriting thing for a while. He’s shown an uncommon knack for observation and, at times, a willingness to funnel those observations into sturdy if perfectly ordinary vessels — songs that teeter toward the generic. What’s impressive about \u003cem>Upside Down Mountain\u003c/em> is how effortless it feels. He doesn’t work overtime trying to reinvent the wheel, doesn’t get twisted up in the veteran songwriter’s pursuit of a stunning new insight. Instead, he picks a road and follows where it leads, asking all the responsible questions, referring back to haunting asides and bitter refrains from other songs, and looking everywhere for clues about the restlessness that follows him like a stormcloud. He’s not looking for a cure, mind you. Just clues. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=First+Listen%3A+Conor+Oberst%2C+%27Upside+Down+Mountain%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Makers of R-rated comedies face an essential dilemma: finding brand new ways to gross out their snickering adolescent viewers. But as \u003cem>Neighbors \u003c/em>demonstrates, there’s another challenge that’s just as tricky: piloting the raunchy scenario to a payoff that upholds the very middle-class values the movie gleefully profanes.\u003c/p>\n\u003cp>\u003cem>Neighbors\u003c/em> opens in an upscale suburban Anywhereville, where a house is occupied by a standard sitcom couple: goofy, pudgy dad and improbably beautiful mom. Although they have a infant daughter, Mac (Seth Rogan) and Kelly (Rose Byrne) endeavor to keep their pre-parental cool. They’re pot-smokers and rave-goers, and when the movie begins they’re trying to have sex. They fail, embarrassed that baby Stella can see them, although Mac’s insistence on narrating the action — “this is happening!” — is just as deflating.\u003c/p>\n\u003cp>The real conflict begins when a college fraternity, Delta Psi Beta, moves in next door, cramming its new home with beer, babes, noise and hallucinogenic mushrooms. Mac and Kelly try to indulge the newcomers, even joining them for some of their daily parties. But the neighborly outreach doesn’t lead to quiet, and Stella can’t sleep through the racket. So the 30-something old folks call the — useless, of course — cops.\u003c/p>\n\u003cp>Full-scale culture war results, led by grim-eyed, often shirtless Delta president Teddy (Zac Efron) and his marginally more reasonable lieutenant, Pete (Dave Franco). Foul-mouthed Kelly is a more skilled combatant than Mac, even if she does sometimes divert her hostility away from Teddy and toward her husband. The bitter conflict encompasses condoms, exploding airbags, girl-on-girl smooches and a swordfight that uses plaster-casts of the frat boys’ penises.\u003c/p>\n\u003cp>Phony phalluses also featured in \u003cem>Neighbors\u003c/em> director Nicholas Stoller’s 2010 farce, \u003cem>Get Him to the Greek\u003c/em>. In that flick, the chubby hero was played by Jonah Hill, and his path to suburban domesticity was temporarily barred by an aggressive rock-groupie type with a dildo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Been there, inserted that, so Stoller and scripters Andrew J. Cohen and Brendan O’Brien need a new outrage. They find it in the procreative aspect of sex, which may discomfit the teen-boy demographic even more than anal rape. After some hard partying, Kelly is swollen with alcohol-tainted milk, and hysterically insists that Mac relieve the pressure. A set of veiny prosthetic breasts amplifies the body-horror hilarity of the moment, which may be unprecedented but feels as predictable as everything else in this utterly routine provocation.\u003c/p>\n\u003cp>After that scene, it hardly matters if the frat house burns down and takes whole neighborhood with it. \u003cem>Neighbors\u003c/em> has attained its peak of queasy vulgarity, and now must negotiate its way down the other side toward a cozily sentimental conclusion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie finds that outcome in the fundamental kinship of Teddy and Mac. As both men stand topless outside an Abercrombie & Fitch, the sculpted frat boy begins to realize that he will someday be a flabby suburban dad. He, too, will have a wife, a child and a mortgage. His only connection to his glory days may very well be the large-screen TV on which he watches future R-rated comedy patsies be taunted, pummeled and mortified. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Neighbors%27+Just+Wants+To+Be+The+Gross+Joke+Next+Door&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Makers of R-rated comedies face an essential dilemma: finding brand new ways to gross out their snickering adolescent viewers. But as \u003cem>Neighbors \u003c/em>demonstrates, there’s another challenge that’s just as tricky: piloting the raunchy scenario to a payoff that upholds the very middle-class values the movie gleefully profanes.\u003c/p>\n\u003cp>\u003cem>Neighbors\u003c/em> opens in an upscale suburban Anywhereville, where a house is occupied by a standard sitcom couple: goofy, pudgy dad and improbably beautiful mom. Although they have a infant daughter, Mac (Seth Rogan) and Kelly (Rose Byrne) endeavor to keep their pre-parental cool. They’re pot-smokers and rave-goers, and when the movie begins they’re trying to have sex. They fail, embarrassed that baby Stella can see them, although Mac’s insistence on narrating the action — “this is happening!” — is just as deflating.\u003c/p>\n\u003cp>The real conflict begins when a college fraternity, Delta Psi Beta, moves in next door, cramming its new home with beer, babes, noise and hallucinogenic mushrooms. Mac and Kelly try to indulge the newcomers, even joining them for some of their daily parties. But the neighborly outreach doesn’t lead to quiet, and Stella can’t sleep through the racket. So the 30-something old folks call the — useless, of course — cops.\u003c/p>\n\u003cp>Full-scale culture war results, led by grim-eyed, often shirtless Delta president Teddy (Zac Efron) and his marginally more reasonable lieutenant, Pete (Dave Franco). Foul-mouthed Kelly is a more skilled combatant than Mac, even if she does sometimes divert her hostility away from Teddy and toward her husband. The bitter conflict encompasses condoms, exploding airbags, girl-on-girl smooches and a swordfight that uses plaster-casts of the frat boys’ penises.\u003c/p>\n\u003cp>Phony phalluses also featured in \u003cem>Neighbors\u003c/em> director Nicholas Stoller’s 2010 farce, \u003cem>Get Him to the Greek\u003c/em>. In that flick, the chubby hero was played by Jonah Hill, and his path to suburban domesticity was temporarily barred by an aggressive rock-groupie type with a dildo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“What’s going through your mind when you’re doing that… or do you not think at all?” Those words, familiar to any teenager and parent, get yelled at Teddy (Jack Kilmer) about halfway through \u003cem>Palo Alto\u003c/em>. Teddy, still in high school, is on probation after his second arrest, his final chance to get his act together before facing time in a juvenile detention center. The line, though, could have been directed at nearly any of the teenagers in Gia Coppola’s thoughtful debut feature, which offers an empathetic account of teenage tribulations but also makes a good case for why the phrase “troubled youth” is needlessly tautological.\u003c/p>\n\u003cp>Coppola, who here extends her family’s predilection for producing talented directors one generation further, seems to have taken most from her Aunt Sofia’s films. \u003cem>Palo Alto\u003c/em> shares the soft visual tones of \u003cem>Somewhere \u003c/em>and \u003cem>Lost in Translation\u003c/em>, their patient pacing, and their tendency to linger on mundane moments that, in accumulation, offer a comfortable intimacy. When Coppola rests her camera on Teddy sullenly playing his guitar, or on the timid April (Emma Roberts) giving herself pep talks in front of the mirror in her room, there’s no overt purpose to the shots, just a steady portrayal of the inchoate emotions of youth.\u003c/p>\n\u003cp>Coppola captures her characters only halfway to adulthood: they drink too much, experiment sexually, and put on an air of maturity, but their bedrooms are still filled with elementary school photos and childhood decorations. Their reckless actions can reflect an abundance of confidence—they drive drunk and cut down trees in cemeteries—but, just as often, they only highlight a persistent immaturity, such as when Fred (Nat Wolff), Teddy’s best friend, draws sexual pictures in a children’s book at the library.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sTqMUu1iTIo\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em>, which is based on a collection of short stories by James Franco, displays a refreshing lack of handwringing over these acts.Coppola knows there’s a difference between acting out and behaving immorally, just as there’s a difference between the absent but loving parents who populate the movie and adults like Mr. B (James Franco), April’s teacher, who flirts and sleeps with his students.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The greatest respect the film shows its young characters is giving them the benefit of the doubt—the acknowledgement that bad behavior doesn’t necessarily make them bad people. But Coppola also knows better than to let them off the hook completely. At one key moment, we learn that one character may have committed a horrible crime. And while Coppola leaves open the possibility that it was just an awful thought, thankfully never acted upon, the suggestion that the line between youthful debauchery and immorality may not be so far off haunts the film.\u003c/p>\n\u003cp>That said, \u003cem>Palo Alto\u003c/em>‘s portrayals of the tender innocence of youth are ultimately better realized than its darker moments, which quickly become too angst-ridden, as if Coppola feels the need to overemphasize the inner turmoil of her characters. Freddy in particular remains unfortunately one-dimensional in his displays of exaggerated manic behavior. The other characters’ actions reveal a fraught internal thought process, but Freddy’s only suggest an out of control id.\u003c/p>\n\u003cp>That unfettered energy, of course, is part of being a teenager too, as are the parties, the drinking, and the sexual exploration, all of which take up a large part of \u003cem>Palo Alto\u003c/em>. But the movie’s happiest moments tellingly come when the characters are among younger kids, away from the pressures to act beyond their age. As a coming-of-age story, \u003cem>Palo Alto \u003c/em>doesn’t take the loss of innocence lightly; on the contrary, it’s a film about the desperate need to keep some of it intact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Palo Alto\u003c/i> opens in Bay Area theaters on May 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=To+Be+Young%2C+Foolish+And+Baffled%3A+Coming+Of+Age+In+%27Palo+Alto%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“What’s going through your mind when you’re doing that… or do you not think at all?” Those words, familiar to any teenager and parent, get yelled at Teddy (Jack Kilmer) about halfway through \u003cem>Palo Alto\u003c/em>. Teddy, still in high school, is on probation after his second arrest, his final chance to get his act together before facing time in a juvenile detention center. The line, though, could have been directed at nearly any of the teenagers in Gia Coppola’s thoughtful debut feature, which offers an empathetic account of teenage tribulations but also makes a good case for why the phrase “troubled youth” is needlessly tautological.\u003c/p>\n\u003cp>Coppola, who here extends her family’s predilection for producing talented directors one generation further, seems to have taken most from her Aunt Sofia’s films. \u003cem>Palo Alto\u003c/em> shares the soft visual tones of \u003cem>Somewhere \u003c/em>and \u003cem>Lost in Translation\u003c/em>, their patient pacing, and their tendency to linger on mundane moments that, in accumulation, offer a comfortable intimacy. When Coppola rests her camera on Teddy sullenly playing his guitar, or on the timid April (Emma Roberts) giving herself pep talks in front of the mirror in her room, there’s no overt purpose to the shots, just a steady portrayal of the inchoate emotions of youth.\u003c/p>\n\u003cp>Coppola captures her characters only halfway to adulthood: they drink too much, experiment sexually, and put on an air of maturity, but their bedrooms are still filled with elementary school photos and childhood decorations. Their reckless actions can reflect an abundance of confidence—they drive drunk and cut down trees in cemeteries—but, just as often, they only highlight a persistent immaturity, such as when Fred (Nat Wolff), Teddy’s best friend, draws sexual pictures in a children’s book at the library.\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/sTqMUu1iTIo'\n title='//www.youtube.com/embed/sTqMUu1iTIo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Palo Alto\u003c/em>, which is based on a collection of short stories by James Franco, displays a refreshing lack of handwringing over these acts.Coppola knows there’s a difference between acting out and behaving immorally, just as there’s a difference between the absent but loving parents who populate the movie and adults like Mr. B (James Franco), April’s teacher, who flirts and sleeps with his students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The greatest respect the film shows its young characters is giving them the benefit of the doubt—the acknowledgement that bad behavior doesn’t necessarily make them bad people. But Coppola also knows better than to let them off the hook completely. At one key moment, we learn that one character may have committed a horrible crime. And while Coppola leaves open the possibility that it was just an awful thought, thankfully never acted upon, the suggestion that the line between youthful debauchery and immorality may not be so far off haunts the film.\u003c/p>\n\u003cp>That said, \u003cem>Palo Alto\u003c/em>‘s portrayals of the tender innocence of youth are ultimately better realized than its darker moments, which quickly become too angst-ridden, as if Coppola feels the need to overemphasize the inner turmoil of her characters. Freddy in particular remains unfortunately one-dimensional in his displays of exaggerated manic behavior. The other characters’ actions reveal a fraught internal thought process, but Freddy’s only suggest an out of control id.\u003c/p>\n\u003cp>That unfettered energy, of course, is part of being a teenager too, as are the parties, the drinking, and the sexual exploration, all of which take up a large part of \u003cem>Palo Alto\u003c/em>. But the movie’s happiest moments tellingly come when the characters are among younger kids, away from the pressures to act beyond their age. As a coming-of-age story, \u003cem>Palo Alto \u003c/em>doesn’t take the loss of innocence lightly; on the contrary, it’s a film about the desperate need to keep some of it intact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Palo Alto\u003c/i> opens in Bay Area theaters on May 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=To+Be+Young%2C+Foolish+And+Baffled%3A+Coming+Of+Age+In+%27Palo+Alto%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Larry McMurtry Loves The West, But Knocks The Cowboy Off His High Horse",
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"content": "\u003cp>Larry McMurtry may well be the only Academy Award winner who used some of the precious moments of his acceptance speech to thank booksellers: “From the humblest paperback exchange to the masters of the great bookshops of the world, all are contributors to the survival of the culture of the book, a wonderful culture which we musn’t lose,” he told the audience in 2006 as he accepted the Oscar for his screenplay for \u003cem>Brokeback Mountain\u003c/em> — which was based on a short story.\u003c/p>\n\u003cp>In addition to being a Pulitzer Prize-winning novelist and an Oscar-winning screenwriter, McMurtry has been a bookseller for most of his life. He still has a collection of 200,000 books in his private library and store in Archer City, Texas. His latest novel, \u003cem>The Last Kind Words Saloon,\u003c/em> is a spare and unsentimental story about two Western icons, Wyatt Earp and Doc Holliday.\u003c/p>\n\u003cfigure id=\"attachment_10135597\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg\" alt=\"Writer Larry McMurtry is also the founder and owner of the Booked Up bookstore in Archer City, Texas.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Writer Larry McMurtry is also the founder and owner of the Booked Up bookstore in Archer City, Texas. \u003ccite>(LM Otero/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A number of McMurtry’s books have been made into successful films, including \u003cem>Hud, The Last Picture Show \u003c/em>and \u003cem>Terms of Endearment\u003c/em>. His Pulitzer Prize-winning novel, \u003cem>Lonesome Dove, \u003c/em>was a popular TV miniseries starring Robert Duvall and Tommy Lee Jones.\u003c/p>\n\u003cp>McMurtry says he never saw the miniseries and doesn’t think \u003cem>Lonesome Dove \u003c/em>is his best book. “I think of \u003cem>Lonesome Dove\u003c/em> as the \u003cem>Gone With the Wind\u003c/em> of the West,” he says. “It’s a pretty good book; it’s not a towering masterpiece.”\u003c/p>\n\u003cp>McMurtry comes by his affinity for the West naturally. His grandfather made his living breaking horses; his father raised cattle. McMurtry grew up in Texas at a time when ranching was in its waning days. He views the West with a realist’s eye but understands why it has taken on mythic proportions for so many.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The West is mostly a very beautiful place,” McMurtry says. “They’re all those lovely spaces; they’re all those running horses. It’s a poetic imagery and it’s been there for a long time.”\u003c/p>\n\u003cp>But for someone who feels so connected to the West, McMurtry doesn’t buy into the myth of the cowboy as hero.\u003c/p>\n\u003cp>“To me it was hollow,” he says, “and I think it was hollow for my father, though he would not have ever brought that to his conscious mind. He totally loved cowboys and so did most of the cowboys he worked with and that got him through his life. But he knew perfectly well that it wouldn’t last another generation … it just was not going to last.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\" alt=\"Last Kind Words Saloon\" width=\"300\" height=\"455\" class=\"alignright size-full wp-image-10135600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon-197x300.jpg 197w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In his new book, \u003cem>The Last Kind Words Saloon,\u003c/em> McMurtry creates an unvarnished picture of one of the heroes of Western myth, Wyatt Earp, and his sidekick, Doc Holliday. Over the years Earp has been portrayed as a legendary lawman, but McMurtry says it’s a reputation he doesn’t deserve.\u003c/p>\n\u003cp>“Wyatt didn’t do much of anything except drink and pester his wife and run around,” he says. “He didn’t do anything remarkable his whole life, ever.”\u003c/p>\n\u003cp>McMurtry strips Earp down to a guy who doesn’t talk much, hits his wife and gets people killed for no particularly good reason. Earp and Holliday spend a lot of time doing nothing. At one point they try, unsuccessfully, to become stars in Buffalo Bill’s Wild West show. The duo’s adventures culminate in the infamous shootout at the O.K. Corral.\u003c/p>\n\u003cp>In McMurtry’s portrayal of the confrontation, the shooting happens almost by accident and is over in seconds. Three men are killed, and Earp’s two brothers are injured. Earp lives to be an old man who has forgotten much of his past. It’s not a flattering picture, but McMurtry says he didn’t deliberately set out to debunk the myth.\u003c/p>\n\u003cp>“I was just wanting to make the novel come to the right end. It was not a terrific animus against the Earps. They weren’t very nice men; certainly Wyatt was not a very nice man. I didn’t have a grand overall plan, I just wanted to write a novel about the winding down of the West.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McMurtry has written 31 novels, not all of them Westerns. Some years back he said he was bored with the 19th century American West. But he keeps coming back to it. There is something about the myth a writer can’t resist. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Larry+McMurtry+Loves+The+West%2C+But+Knocks+The+Cowboy+Off+His+High+Horse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Larry McMurtry may well be the only Academy Award winner who used some of the precious moments of his acceptance speech to thank booksellers: “From the humblest paperback exchange to the masters of the great bookshops of the world, all are contributors to the survival of the culture of the book, a wonderful culture which we musn’t lose,” he told the audience in 2006 as he accepted the Oscar for his screenplay for \u003cem>Brokeback Mountain\u003c/em> — which was based on a short story.\u003c/p>\n\u003cp>In addition to being a Pulitzer Prize-winning novelist and an Oscar-winning screenwriter, McMurtry has been a bookseller for most of his life. He still has a collection of 200,000 books in his private library and store in Archer City, Texas. His latest novel, \u003cem>The Last Kind Words Saloon,\u003c/em> is a spare and unsentimental story about two Western icons, Wyatt Earp and Doc Holliday.\u003c/p>\n\u003cfigure id=\"attachment_10135597\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg\" alt=\"Writer Larry McMurtry is also the founder and owner of the Booked Up bookstore in Archer City, Texas.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Writer Larry McMurtry is also the founder and owner of the Booked Up bookstore in Archer City, Texas. \u003ccite>(LM Otero/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A number of McMurtry’s books have been made into successful films, including \u003cem>Hud, The Last Picture Show \u003c/em>and \u003cem>Terms of Endearment\u003c/em>. His Pulitzer Prize-winning novel, \u003cem>Lonesome Dove, \u003c/em>was a popular TV miniseries starring Robert Duvall and Tommy Lee Jones.\u003c/p>\n\u003cp>McMurtry says he never saw the miniseries and doesn’t think \u003cem>Lonesome Dove \u003c/em>is his best book. “I think of \u003cem>Lonesome Dove\u003c/em> as the \u003cem>Gone With the Wind\u003c/em> of the West,” he says. “It’s a pretty good book; it’s not a towering masterpiece.”\u003c/p>\n\u003cp>McMurtry comes by his affinity for the West naturally. His grandfather made his living breaking horses; his father raised cattle. McMurtry grew up in Texas at a time when ranching was in its waning days. He views the West with a realist’s eye but understands why it has taken on mythic proportions for so many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The West is mostly a very beautiful place,” McMurtry says. “They’re all those lovely spaces; they’re all those running horses. It’s a poetic imagery and it’s been there for a long time.”\u003c/p>\n\u003cp>But for someone who feels so connected to the West, McMurtry doesn’t buy into the myth of the cowboy as hero.\u003c/p>\n\u003cp>“To me it was hollow,” he says, “and I think it was hollow for my father, though he would not have ever brought that to his conscious mind. He totally loved cowboys and so did most of the cowboys he worked with and that got him through his life. But he knew perfectly well that it wouldn’t last another generation … it just was not going to last.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\" alt=\"Last Kind Words Saloon\" width=\"300\" height=\"455\" class=\"alignright size-full wp-image-10135600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon-197x300.jpg 197w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In his new book, \u003cem>The Last Kind Words Saloon,\u003c/em> McMurtry creates an unvarnished picture of one of the heroes of Western myth, Wyatt Earp, and his sidekick, Doc Holliday. Over the years Earp has been portrayed as a legendary lawman, but McMurtry says it’s a reputation he doesn’t deserve.\u003c/p>\n\u003cp>“Wyatt didn’t do much of anything except drink and pester his wife and run around,” he says. “He didn’t do anything remarkable his whole life, ever.”\u003c/p>\n\u003cp>McMurtry strips Earp down to a guy who doesn’t talk much, hits his wife and gets people killed for no particularly good reason. Earp and Holliday spend a lot of time doing nothing. At one point they try, unsuccessfully, to become stars in Buffalo Bill’s Wild West show. The duo’s adventures culminate in the infamous shootout at the O.K. Corral.\u003c/p>\n\u003cp>In McMurtry’s portrayal of the confrontation, the shooting happens almost by accident and is over in seconds. Three men are killed, and Earp’s two brothers are injured. Earp lives to be an old man who has forgotten much of his past. It’s not a flattering picture, but McMurtry says he didn’t deliberately set out to debunk the myth.\u003c/p>\n\u003cp>“I was just wanting to make the novel come to the right end. It was not a terrific animus against the Earps. They weren’t very nice men; certainly Wyatt was not a very nice man. I didn’t have a grand overall plan, I just wanted to write a novel about the winding down of the West.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McMurtry has written 31 novels, not all of them Westerns. Some years back he said he was bored with the 19th century American West. But he keeps coming back to it. There is something about the myth a writer can’t resist. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Larry+McMurtry+Loves+The+West%2C+But+Knocks+The+Cowboy+Off+His+High+Horse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "From Flower To Factory, These Bees Are No Bumblers",
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"content": "\u003cp>Fortunate happenstance has led to me reviewing Laline Paull’s \u003cem>The Bees\u003c/em> alongside Dave Goulson’s \u003cem>A Sting in the Tale\u003c/em>. I am more than a little obsessed with bees, honey, watching wildlife and reading dystopias, and am therefore predisposed to find both books interesting. Together they make a splendid double-header of fiction and non-fiction: there is a precision and economy to the former and an almost lazy charm to the latter that makes them remarkably complementary. Where \u003cem>The Bees\u003c/em> captures the fervor and fierceness of hive life from the perspective of one of its workers, \u003cem>A Sting in the Tale\u003c/em> is very much the narrative of a friendly professor sitting in a garden, holding forth on his favourite subject while watching a bumblebee buzz by.\u003c/p>\n\u003cp>Paull’s novel is riveting. Flora 717 is of ignoble kin, the very humblest of workers in a honeybee hive: the Sanitation workers. All other workers are associated with specific flowers: where Teasel kin work the Nurseries, Thistle kin guard the hive, and Sage priestesses govern in the Queen’s name, Floras are dismissed as unworthy of differentiation and forbidden to speak. But from her first emergence 717 is marked by a Sage priestess as unusual: much larger and uglier than her kin, she nevertheless has the capacity to produce royal jelly, called Flow, at a time when the hive is in dire need of more nurses. This first distinction leads to more, and Flora 717 gradually learns the hive’s inner workings — and troubling secrets.\u003c/p>\n\u003cp>The prose is lovely without being distracting, and the way Paull relays the bees’ world through scent, heat, and movement is immensely successful. There were points at which I was jarred by a sudden anthropomorphization — a bee prodding another bee with a stick, for instance — but for the most part I loved the stylistic choices governing the bees’ language and life. The bees learn the Latin names of flowers by seducing them through pollination; they name all enemies of the hive The Myriad; they have scent-painted histories of the hive in a sort of library. It’s evocative and beautiful.\u003c/p>\n\u003cp>Working in a tradition of anthropomorphised animal fables such as \u003cem>Animal Farm \u003c/em>and \u003cem>Watership Down, \u003c/em>Paull distinguishes herself: instead of using the rhythms and mores of animals as a central metaphor for political or social allegory, \u003cem>The Bees\u003c/em> begins and ends with the hive, effectively dramatizing its lifecycle without the sound of any one axe grinding in the background. \u003cem> \u003c/em>Indeed, the somewhat extraneous frame narrative — a man looking at the hive while considering whether or not to sell the land it’s on — brings this home: humans layer the hive with their own meanings, but the bees are utterly indifferent to them, and their respective stories and realities do not match.\u003c/p>\n\u003cp>The laid-back, avuncular congeniality of Goulson’s rambling \u003cem>Sting in the Tale\u003c/em> makes quite a contrast to Flora 717’s compelling, high-stakes story. Book-ended with the story of the British short-haired bumblebee’s introduction to New Zealand, subsequent extinction in the UK, and very recent plans for its reintroduction with New Zealand stock, \u003cem>Tale\u003c/em> melts memoir and conservation issues into a sweet pot, moving from subject to subject very much in the manner of a foraging bee seeking flowers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It took some getting used to at first; the preface especially seems to delight in relaying boyhood ventures into conservation that go horribly, upsettingly wrong, and the sizzled bees and decapitated quails are rather at odds with the cheerfully indifferent (though perhaps slightly embarrassed) tone in which Goulson describes them. But once his passion for conservation is kindled, the book is warm and delightful: I frequently found myself wanting to put it down to go bird and bee-watching, to find for myself the species he discusses.\u003c/p>\n\u003cp>Sometimes the frequency of Goulson’s anecdotes about his doctoral students gave me pause, as I couldn’t help but wonder whether they’d given permission to have their divorces, appearances, and eating habits so freely detailed — they may well have done, but I nevertheless felt uncomfortable reading about them. I was much happier with the book when Goulson stuck to describing ecology, especially the ways in which thousands of moving parts work together to create a meadow landscape we take for granted — or, conversely, how unnatural and convoluted are the processes that bring us something as ubiquitous as ketchup:\u003c/p>\n\u003cp>\u003cem>When you next squirt Heinz tomato ketchup on to your fish and chips, reflect on the nature of the modern world. Your ketchup was most likely made in a factory in the Netherlands from tomatoes grown in Spain, pollinated by Turkish bees reared in a factory in Slovakia.\u003c/em>\u003c/p>\n\u003cp>I had no idea that bumblebees are commercially reared, nor that the industry is apparently haphazardly regulated. I found this, like many of the book’s anecdotes — whether about training nest-sniffing dogs, studying bees in Tasmania, or starting up an immensely successful bumblebee charity from humble beginnings — memorable and interesting.\u003c/p>\n\u003cp>While I knew a fair amount about honeybees going in, \u003cem>A Sting in the Tale\u003c/em>‘s focus on bumblebees drove home how much I’d assumed them to be similar creatures when they’re notably distinct and fascinating in their own right. The chapters on bumblebee enemies and reproduction resonated with me especially, having just seen those aspects colourfully plotted through \u003cem>The Bees\u003c/em>. Given how much Goulson’s information reads like medieval history – all queens being usurped and workers being enslaved under Cuckoo bees — I found myself wondering what a novel called \u003cem>The Bumblebees \u003c/em>would be like.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Reading these books back to back was thought-provoking in another sense: it made me realize the extent to which my love of bees comes of only half-knowing them. We see their societies, their sisterhoods and motherhoods, and can’t help but layer our meanings and musings over them to shore up the gap between what they do and what we see. Goulson frequently reiterates how, in spite of multiple scientific advances and innumerable field trips and research papers, much about bees remains a mystery to us; Paull, in giving us a highly detailed, immersive fantasy of a hive’s interior, says essentially the same thing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+Flower+To+Factory%2C+These+Bees+Are+No+Bumblers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fortunate happenstance has led to me reviewing Laline Paull’s \u003cem>The Bees\u003c/em> alongside Dave Goulson’s \u003cem>A Sting in the Tale\u003c/em>. I am more than a little obsessed with bees, honey, watching wildlife and reading dystopias, and am therefore predisposed to find both books interesting. Together they make a splendid double-header of fiction and non-fiction: there is a precision and economy to the former and an almost lazy charm to the latter that makes them remarkably complementary. Where \u003cem>The Bees\u003c/em> captures the fervor and fierceness of hive life from the perspective of one of its workers, \u003cem>A Sting in the Tale\u003c/em> is very much the narrative of a friendly professor sitting in a garden, holding forth on his favourite subject while watching a bumblebee buzz by.\u003c/p>\n\u003cp>Paull’s novel is riveting. Flora 717 is of ignoble kin, the very humblest of workers in a honeybee hive: the Sanitation workers. All other workers are associated with specific flowers: where Teasel kin work the Nurseries, Thistle kin guard the hive, and Sage priestesses govern in the Queen’s name, Floras are dismissed as unworthy of differentiation and forbidden to speak. But from her first emergence 717 is marked by a Sage priestess as unusual: much larger and uglier than her kin, she nevertheless has the capacity to produce royal jelly, called Flow, at a time when the hive is in dire need of more nurses. This first distinction leads to more, and Flora 717 gradually learns the hive’s inner workings — and troubling secrets.\u003c/p>\n\u003cp>The prose is lovely without being distracting, and the way Paull relays the bees’ world through scent, heat, and movement is immensely successful. There were points at which I was jarred by a sudden anthropomorphization — a bee prodding another bee with a stick, for instance — but for the most part I loved the stylistic choices governing the bees’ language and life. The bees learn the Latin names of flowers by seducing them through pollination; they name all enemies of the hive The Myriad; they have scent-painted histories of the hive in a sort of library. It’s evocative and beautiful.\u003c/p>\n\u003cp>Working in a tradition of anthropomorphised animal fables such as \u003cem>Animal Farm \u003c/em>and \u003cem>Watership Down, \u003c/em>Paull distinguishes herself: instead of using the rhythms and mores of animals as a central metaphor for political or social allegory, \u003cem>The Bees\u003c/em> begins and ends with the hive, effectively dramatizing its lifecycle without the sound of any one axe grinding in the background. \u003cem> \u003c/em>Indeed, the somewhat extraneous frame narrative — a man looking at the hive while considering whether or not to sell the land it’s on — brings this home: humans layer the hive with their own meanings, but the bees are utterly indifferent to them, and their respective stories and realities do not match.\u003c/p>\n\u003cp>The laid-back, avuncular congeniality of Goulson’s rambling \u003cem>Sting in the Tale\u003c/em> makes quite a contrast to Flora 717’s compelling, high-stakes story. Book-ended with the story of the British short-haired bumblebee’s introduction to New Zealand, subsequent extinction in the UK, and very recent plans for its reintroduction with New Zealand stock, \u003cem>Tale\u003c/em> melts memoir and conservation issues into a sweet pot, moving from subject to subject very much in the manner of a foraging bee seeking flowers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It took some getting used to at first; the preface especially seems to delight in relaying boyhood ventures into conservation that go horribly, upsettingly wrong, and the sizzled bees and decapitated quails are rather at odds with the cheerfully indifferent (though perhaps slightly embarrassed) tone in which Goulson describes them. But once his passion for conservation is kindled, the book is warm and delightful: I frequently found myself wanting to put it down to go bird and bee-watching, to find for myself the species he discusses.\u003c/p>\n\u003cp>Sometimes the frequency of Goulson’s anecdotes about his doctoral students gave me pause, as I couldn’t help but wonder whether they’d given permission to have their divorces, appearances, and eating habits so freely detailed — they may well have done, but I nevertheless felt uncomfortable reading about them. I was much happier with the book when Goulson stuck to describing ecology, especially the ways in which thousands of moving parts work together to create a meadow landscape we take for granted — or, conversely, how unnatural and convoluted are the processes that bring us something as ubiquitous as ketchup:\u003c/p>\n\u003cp>\u003cem>When you next squirt Heinz tomato ketchup on to your fish and chips, reflect on the nature of the modern world. Your ketchup was most likely made in a factory in the Netherlands from tomatoes grown in Spain, pollinated by Turkish bees reared in a factory in Slovakia.\u003c/em>\u003c/p>\n\u003cp>I had no idea that bumblebees are commercially reared, nor that the industry is apparently haphazardly regulated. I found this, like many of the book’s anecdotes — whether about training nest-sniffing dogs, studying bees in Tasmania, or starting up an immensely successful bumblebee charity from humble beginnings — memorable and interesting.\u003c/p>\n\u003cp>While I knew a fair amount about honeybees going in, \u003cem>A Sting in the Tale\u003c/em>‘s focus on bumblebees drove home how much I’d assumed them to be similar creatures when they’re notably distinct and fascinating in their own right. The chapters on bumblebee enemies and reproduction resonated with me especially, having just seen those aspects colourfully plotted through \u003cem>The Bees\u003c/em>. Given how much Goulson’s information reads like medieval history – all queens being usurped and workers being enslaved under Cuckoo bees — I found myself wondering what a novel called \u003cem>The Bumblebees \u003c/em>would be like.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reading these books back to back was thought-provoking in another sense: it made me realize the extent to which my love of bees comes of only half-knowing them. We see their societies, their sisterhoods and motherhoods, and can’t help but layer our meanings and musings over them to shore up the gap between what they do and what we see. Goulson frequently reiterates how, in spite of multiple scientific advances and innumerable field trips and research papers, much about bees remains a mystery to us; Paull, in giving us a highly detailed, immersive fantasy of a hive’s interior, says essentially the same thing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+Flower+To+Factory%2C+These+Bees+Are+No+Bumblers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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