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"content": "\u003cp>Before Colin Kaepernick was the face and catalyst of a protest movement — across sports and society — and before he was the San Francisco 49ers’ starting quarterback in the Super Bowl XLVII, he was just a teenager trying to figure out who he was and where he was going.\u003c/p>\n\u003cp>[aside postid='arts_13908958']Navigating everything from family to school can be especially overwhelming as a teenager. When it came to sports, Kaepernick often grappled with whether he was taking the right athletic route to the pros. He ruminated on pursuing baseball — where he had a lot of offers from colleges and received house visits from Major League Baseball personnel — or following his heart and patiently wait for a football scholarship. From anywhere.\u003c/p>\n\u003cp>Outside of sports, Kaepernick wrestled with his identity within his blended adoptive family. Culturally speaking, he felt misunderstood. His adoptive parents were white, and while Kaepernick is biracial, he identified as a Black man and the world around him treated him as such.\u003c/p>\n\u003cp>His upbringing and teen crucibles are the source of his new graphic novel, titled \u003cem>Change the Game\u003c/em>, which is written with Eve Ewing and illustrated by Orlando Caicedo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926032 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an interview with NPR’s Juana Summers, Kaepernick evinces what allowed him to fully soak in and embrace his Blackness. Kaepernick says he got his identity footing looking up to Allen Iverson — AKA ‘The Answer.’ This cultural icon’s bravado, braids and ability to make anyone — even ‘His Airness’ Michael Jordan — look foolish on the basketball court, gave Kaepernick a new prototype of Blackness to build and contribute toward.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the struggles Kaepernick dealt with as a teen\u003c/strong>\u003c/p>\n\u003cp>It was navigating the difficulties of family, community, school, and major life decisions. Like, while I am biracial, I identify as a young Black man. So I was trying to navigate that while having a white family and being in a predominantly white community, and trying to find ways to make sure that my identity and Blackness wasn’t stripped from me along that journey.\u003c/p>\n\u003cp>\u003cstrong>On his decision and inspiration to get cornrows \u003c/strong>\u003c/p>\n\u003cp>This was the era of Allen Iverson, a cultural phenom. He was someone that I looked up to, and I saw him be so unapologetically Black and unapologetically himself. It was something I aspired to, and I looked at that as an opportunity for me to be able to really take hold of my Blackness and do it in a way that I was proud of and I was excited about. And the difficulty with that is being in white culture with Eurocentric beauty standards, navigating what their response to that was at 15 years old and not knowing how to fight back against that, really outside of saying, ‘No, this is just what I want to do.’ And that became a very difficult conversation and situation, navigating that both with my family, with my community, with coaches.\u003c/p>\n\u003cfigure id=\"attachment_13926035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg\" alt=\"Five comic book panels depict a young man going to get his hair braided for the first time. \" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-scaled.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick describes how NBA champion Allen Iverson was an inspiration. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me, I think, about 14 years before I grew my hair back out. So it’s really to show the impact those moments … can have on a young man, on a young woman, and how that carries with them through life.\u003c/p>\n\u003cp>\u003cstrong>On his motivation for creating a graphic novel\u003c/strong>\u003c/p>\n\u003cp>There were a few reasons. One of the reasons, growing up I wasn’t an avid reader was because I didn’t have stories, or I wasn’t introduced to books that had characters that I related to. It wasn’t until I read \u003cem>We’ll Never Forget You, Roberto Clemente\u003c/em>, that I saw another Black person as the lead of a book. It was game changing for me.\u003c/p>\n\u003cp>I knew there were other books out there and other opportunities to be able to find stories, to find narratives that I identified with and that were relatable to me. So what we’re looking to do now is, for younger audiences, give them hopefully characters and stories that they relate to, but also give them pieces of knowledge and situations and try to help them navigate those in ways that I didn’t have access to growing up. And based upon conversations that I’ve had, a lot of other people didn’t as well.\u003c/p>\n\u003cfigure id=\"attachment_13926041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png\" alt=\"A double page spread in a comic book depicts a young Black man feeling uncomfortable at a sports game as his white father conducts a conversation with another white man wearing a confederate flag cap.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick doesn’t shy away from how he navigated living in a white family and being in a predominantly white community. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why the book ends with him heading off to the University of Nevada, Reno\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13905474']We end the story there for a few reasons. One, to make sure that we don’t have a never-ending book, because there’s a lot of story to tell. But the other part of it is we wanted to create a defining moment that younger kids and high school kids could identify with, which is that transition and decision of what to do after high school.\u003c/p>\n\u003cp>And for me, at that point in time, baseball was the obvious decision for everyone around me. I have multiple offers. I had the MLB come and sit down in my living room and tell me they wanted to draft me. There was an obvious career path there. And I had not a single offer for football at this point, but it was what I loved and what I wanted to do. I made the decision that that’s what I was going to chase, in spite of everyone else telling me I should go a different direction.\u003c/p>\n\u003cp>\u003cstrong>On whether the NFL has changed for the better over the past six years\u003c/strong>\u003c/p>\n\u003cp>I haven’t seen any substantial change. I think there is a lot of work to do on that front. Obviously, not playing and being out of the NFL for six years is an indictment on where they are currently at. So I wouldn’t put them at the forefront of goodwill and best of intentions in how they operate.\u003c/p>\n\u003cp>\u003cstrong>On whether Kaepernick still thinks losing his career was worth the start of a movement\u003c/strong>\u003c/p>\n\u003cp>I think there’s this idea out there that those are mutually exclusive, and I don’t subscribe to that. So I think people are multifaceted and multi-talented and ultimately, that’s something that we want to make sure that message is being sent as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>My focus is always on what I can do moving forward. What can I do to change my present and my future? So training at 4:30am to be able to have the opportunity to make a (NFL) comeback? Absolutely. That’s something I do five days a week still. But as far as looking back, that’s not something I do. I’m looking forward to where can I have an impact? What are my passions? And a great example of that is \u003cem>Change The Game\u003c/em>, and this book being able to come out, us being able to share this message with the youth, and it becomes a great opportunity for us to be able to create a future that looks different\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Colin+Kaepernick+describes+how+he+embraced+his+blackness+as+a+teenager&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Colin Kaepernick was the face and catalyst of a protest movement — across sports and society — and before he was the San Francisco 49ers’ starting quarterback in the Super Bowl XLVII, he was just a teenager trying to figure out who he was and where he was going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Navigating everything from family to school can be especially overwhelming as a teenager. When it came to sports, Kaepernick often grappled with whether he was taking the right athletic route to the pros. He ruminated on pursuing baseball — where he had a lot of offers from colleges and received house visits from Major League Baseball personnel — or following his heart and patiently wait for a football scholarship. From anywhere.\u003c/p>\n\u003cp>Outside of sports, Kaepernick wrestled with his identity within his blended adoptive family. Culturally speaking, he felt misunderstood. His adoptive parents were white, and while Kaepernick is biracial, he identified as a Black man and the world around him treated him as such.\u003c/p>\n\u003cp>His upbringing and teen crucibles are the source of his new graphic novel, titled \u003cem>Change the Game\u003c/em>, which is written with Eve Ewing and illustrated by Orlando Caicedo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926032 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an interview with NPR’s Juana Summers, Kaepernick evinces what allowed him to fully soak in and embrace his Blackness. Kaepernick says he got his identity footing looking up to Allen Iverson — AKA ‘The Answer.’ This cultural icon’s bravado, braids and ability to make anyone — even ‘His Airness’ Michael Jordan — look foolish on the basketball court, gave Kaepernick a new prototype of Blackness to build and contribute toward.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the struggles Kaepernick dealt with as a teen\u003c/strong>\u003c/p>\n\u003cp>It was navigating the difficulties of family, community, school, and major life decisions. Like, while I am biracial, I identify as a young Black man. So I was trying to navigate that while having a white family and being in a predominantly white community, and trying to find ways to make sure that my identity and Blackness wasn’t stripped from me along that journey.\u003c/p>\n\u003cp>\u003cstrong>On his decision and inspiration to get cornrows \u003c/strong>\u003c/p>\n\u003cp>This was the era of Allen Iverson, a cultural phenom. He was someone that I looked up to, and I saw him be so unapologetically Black and unapologetically himself. It was something I aspired to, and I looked at that as an opportunity for me to be able to really take hold of my Blackness and do it in a way that I was proud of and I was excited about. And the difficulty with that is being in white culture with Eurocentric beauty standards, navigating what their response to that was at 15 years old and not knowing how to fight back against that, really outside of saying, ‘No, this is just what I want to do.’ And that became a very difficult conversation and situation, navigating that both with my family, with my community, with coaches.\u003c/p>\n\u003cfigure id=\"attachment_13926035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg\" alt=\"Five comic book panels depict a young man going to get his hair braided for the first time. \" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-scaled.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick describes how NBA champion Allen Iverson was an inspiration. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me, I think, about 14 years before I grew my hair back out. So it’s really to show the impact those moments … can have on a young man, on a young woman, and how that carries with them through life.\u003c/p>\n\u003cp>\u003cstrong>On his motivation for creating a graphic novel\u003c/strong>\u003c/p>\n\u003cp>There were a few reasons. One of the reasons, growing up I wasn’t an avid reader was because I didn’t have stories, or I wasn’t introduced to books that had characters that I related to. It wasn’t until I read \u003cem>We’ll Never Forget You, Roberto Clemente\u003c/em>, that I saw another Black person as the lead of a book. It was game changing for me.\u003c/p>\n\u003cp>I knew there were other books out there and other opportunities to be able to find stories, to find narratives that I identified with and that were relatable to me. So what we’re looking to do now is, for younger audiences, give them hopefully characters and stories that they relate to, but also give them pieces of knowledge and situations and try to help them navigate those in ways that I didn’t have access to growing up. And based upon conversations that I’ve had, a lot of other people didn’t as well.\u003c/p>\n\u003cfigure id=\"attachment_13926041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png\" alt=\"A double page spread in a comic book depicts a young Black man feeling uncomfortable at a sports game as his white father conducts a conversation with another white man wearing a confederate flag cap.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick doesn’t shy away from how he navigated living in a white family and being in a predominantly white community. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why the book ends with him heading off to the University of Nevada, Reno\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We end the story there for a few reasons. One, to make sure that we don’t have a never-ending book, because there’s a lot of story to tell. But the other part of it is we wanted to create a defining moment that younger kids and high school kids could identify with, which is that transition and decision of what to do after high school.\u003c/p>\n\u003cp>And for me, at that point in time, baseball was the obvious decision for everyone around me. I have multiple offers. I had the MLB come and sit down in my living room and tell me they wanted to draft me. There was an obvious career path there. And I had not a single offer for football at this point, but it was what I loved and what I wanted to do. I made the decision that that’s what I was going to chase, in spite of everyone else telling me I should go a different direction.\u003c/p>\n\u003cp>\u003cstrong>On whether the NFL has changed for the better over the past six years\u003c/strong>\u003c/p>\n\u003cp>I haven’t seen any substantial change. I think there is a lot of work to do on that front. Obviously, not playing and being out of the NFL for six years is an indictment on where they are currently at. So I wouldn’t put them at the forefront of goodwill and best of intentions in how they operate.\u003c/p>\n\u003cp>\u003cstrong>On whether Kaepernick still thinks losing his career was worth the start of a movement\u003c/strong>\u003c/p>\n\u003cp>I think there’s this idea out there that those are mutually exclusive, and I don’t subscribe to that. So I think people are multifaceted and multi-talented and ultimately, that’s something that we want to make sure that message is being sent as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My focus is always on what I can do moving forward. What can I do to change my present and my future? So training at 4:30am to be able to have the opportunity to make a (NFL) comeback? Absolutely. That’s something I do five days a week still. But as far as looking back, that’s not something I do. I’m looking forward to where can I have an impact? What are my passions? And a great example of that is \u003cem>Change The Game\u003c/em>, and this book being able to come out, us being able to share this message with the youth, and it becomes a great opportunity for us to be able to create a future that looks different\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Colin+Kaepernick+describes+how+he+embraced+his+blackness+as+a+teenager&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VAHorHpPqb4&t=1s\u003c/p>\n\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>[aside postid='arts_13896127']The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mx_OexsUI2M\u003c/p>\n\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2CIAKVTOrc\u003c/p>\n\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzxsTXNmVm0\u003c/p>\n\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4_eEgJhsBMo\u003c/p>\n\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>[aside postid='arts_13925431']Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\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/VAHorHpPqb4'\n title='//www.youtube.com/embed/VAHorHpPqb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\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/Mx_OexsUI2M'\n title='//www.youtube.com/embed/Mx_OexsUI2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\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/O2CIAKVTOrc'\n title='//www.youtube.com/embed/O2CIAKVTOrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\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/EzxsTXNmVm0'\n title='//www.youtube.com/embed/EzxsTXNmVm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\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/4_eEgJhsBMo'\n title='//www.youtube.com/embed/4_eEgJhsBMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "De La Soul on Streaming: Your Guide to a Legendary Hip-Hop Catalog",
"headTitle": "De La Soul on Streaming: Your Guide to a Legendary Hip-Hop Catalog | KQED",
"content": "\u003cp>Streaming platforms were initially sold as an all-encompassing music library — every song at one’s fingertips! — yet there are inevitable gaps within their discographies. For hip-hop fans, few omissions have been more grievous than the missing catalog of De La Soul. One of the giants of hip-hop’s “golden era” of the late ’80s through mid ’90s, De La’s penchant for playful creativity would go on to influence everyone from the Pharcyde to OutKast, Kanye West to Childish Gambino. Despite this, almost all of their most important albums have been missing from (legal) streaming services. When founding member Trugoy the Dove \u003ca href=\"https://www.npr.org/2023/02/13/1156489848/dave-jolicoeur-de-la-soul-trugoy-the-dove-obituary\">unexpectedly passed away\u003c/a> last month, anyone seeking to revisit most of De La Soul’s best known works would have been left empty-handed and confused. We now take for granted that our favorite artists have their catalogs readily available to us yet when in a time of grief over Trugoy’s death, new and old fans were met with a deafening silence of options to revisit his musical legacy. \u003c/p>\n\u003cp>What kept De La’s tunes out of rotation was a frustrating morass of outdated contracts and record label parsimony. It got so bad that in 2014, the group put their entire catalog on their website to download for free for a day. As they told \u003cem>Rolling Stone \u003c/em>at the time, “We’ve been blessed to be in the Library of Congress, but we can’t even have our music on iTunes.” Likewise, there was an attempt in 2019 by Tommy Boy Records, which owns the rights to De La’s music, to put them on streaming but the terms of that deal were so unfavorable to the group that\u003ca href=\"https://www.complex.com/music/2019/02/de-la-soul-calls-out-former-record-label-over-unfair-streaming-deal\"> public outrage\u003c/a> forced Tommy Boy to abandon their plans.\u003c/p>\n\u003cp>None of these are just business concerns. Our social awareness of music has always been tied to how songs and albums are distributed. Much like the proverbial tree falling in the woods without a witness, if an artist has recorded the greatest album of all time, does it really matter if no one has the means to hear it? De La may have sold millions of physical cassettes, CDs and vinyl records in the past but how many households have the means to play any of those formats? De La’s absence from streaming sites has effectively erased their presence from the contemporary musical landscape \u003cem>and \u003c/em>threatens to minimize their historical import. It’s not just the artist who loses out; we, as listeners, are left poorer too.\u003c/p>\n\u003cp>All this has finally been rectified. The group’s most important recordings are now legally available on the internet. Given how long it’s taken for this music to arrive, we thought it necessary to revisit this storied catalog and its restored legacy, to help new fans familiarize themselves with the memorable (and singular) arc of their career and give veteran listeners a reintroduction to their most influential work.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Souls Who Flaunt Styles: \u003c/strong>\u003cem>\u003cstrong>3 Feet High and Rising \u003c/strong>\u003c/em>\u003cstrong>(1989)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>De La Soul’s debut reshaped the public imagination of what hip-hop could be. The core trio — Posdnuos, Trugoy and DJ Pasemaster Mase — assisted by mentor/producer Prince Paul all came straight outta the wilds of suburban Long Island, rapping about advice-spouting crocodiles, Martian transmissions, and an artistic meta-concept they dubbed The D.A.I.S.Y. (Da Inner Soul, Y’all) Age.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7GOdFpyX7aUbHOaYt7mwyP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La were part of the Native Tongues, a collective of like-minded artists that included the Jungle Brothers, A Tribe Called Quest and Queen Latifah, among others. Promoting Afrocentric positivity, they purposefully set themselves to contrast against the boisterous brio exemplified by such icons of the era as LL Cool J, NWA or Big Daddy Kane. De La Soul, especially, became smart, sardonic avatars for Black misfits and nerds, mining the sublime from the absurd. On the album, this is partly showcased in their songcraft, especially the humorous skits peppered throughout that turned the format into a rap album staple. There was also the consistently irreverent ways in which Pos and Trugoy adroitly rapped on everything from the garishness of consumer culture (“Take It Off”) to sexy flirtations (“Buddy”) to personal hygiene (\u003cstrong>“A Little Bit of Soap”\u003c/strong>). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6zgClTCI7zRqQLf148Sozu?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>The group would prove too clever by half, however, at least for the mainstream music media who were quick to dub them “hip-hop hippies.” That encouraged their label, Tommy Boy, to lean further into the aesthetic by creating artwork doused in day-glo colors and cartoon daisies. De La had to refute this characterization in real time; on the album’s big radio hit, \u003cstrong>“Me, Myself and I,”\u003c/strong> Pos (aka Plug One) insists, “You say Plug One and Two are hippies / No we’re not / That’s pure plug bull.”\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/792UwI6utk5DMQUT1KXa5E?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Despite these grumblings, \u003cem>3 Feet High \u003c/em>still brimmed in mirth, including on the musical side, overseen by Prince Paul and including contributions by the entire group. Sample-hungry rap producers had spent the previous few years mining the James Brown and P-Funk catalogs and though De La sampled from both on their debut, they were more likely to create memorable musical moments from children’s television songs (“The Magic Number”), obscure doo-wop singles (“Plug Tunin'”) and classic ’80s pop hits (“Say No Go”). Similar to how their DJ, PA Mase, could expertly splice up a dizzying number of snippets on a song like \u003cstrong>“Cool Breeze on the Rocks,”\u003c/strong> the group collectively embraced unfettered sampling as a calling card, a way to demonstrate how drawing upon “found sounds” could create new sounds. Ironically though, their love for sampling is one reason why it took so long for their music to make it to streaming; no one wanted to foot the bill to properly clear all those samples. In fact, the version of the track that appears on streaming is completely reimagined.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5iYjvQbLvISapScuxb4XTo?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Even 30+ years later, \u003cem>3 Feet High\u003c/em> still sounds wondrous and weird, even compared to their later albums, let alone the rest of the hip-hop landscape. Scores of other artists have tried to be clever but few, if any, have embodied a creative impulse as irrepressible and risk-taking. De La’s debut was a proof of concept that the right combination of ingenuity and frivolity could create something indelibly, impossibly hip. (Just don’t call them hippies.)\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Time For Heads To Get Flown: \u003c/strong>\u003cem>\u003cstrong>De La Soul Is Dead\u003c/strong>\u003c/em>\u003cstrong> (1991)\u003c/strong>\u003c/p>\n\u003cp>Imagine debuting with a gold record, lauded as darlings of “alternative” rap, and then using your follow-up LP to unceremoniously kill off that gilded goose. If the title, \u003cem>De La Soul Is Dead,\u003c/em> wasn’t enough of an announcement of intent, the album’s cover removed any lingering ambiguity: a broken pot of daisies, knocked upon its side.\u003c/p>\n\u003cp>\u003cem>3 Feet High \u003c/em>felt like a kaleidoscope of colorful ideas splashed against a wall and the group’s sophomore effort was equally intentional but with a darker palette. Consider this LP’s recurring skits: all meta-level self-deprecation where we overhear a pack of misanthropes listening to the album in real time, trashing the group and its pretensions at every opportunity.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4YxeQH9KdAp0JRyD5YQAFP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La also dabbled in heavier social commentary, whether mocking the violent posturing of gangsta rappers (“Afro Connections at the Hi 5”), addressing the trauma of drug addiction (“My Brother’s a Basehead”) or most surprisingly, turning a story about familial sexual abuse (\u003cstrong>“Millie Pulled a Pistol on Santa”\u003c/strong>) into a commercial single (and one of the most depressing holiday songs ever). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7HuylwCfdFfEH5Qc9MZ7dT?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Yet, De La’s symbolic death and reinvention wasn’t nearly as dramatic as fans might have feared. Though the trio puffed their chests out a bit further and their humor leaned a touch darker, the album still brimmed with a similar exuberance to \u003cem>3 Feet High\u003c/em>. The LP’s lead single, \u003cstrong>“Ring Ring Ring (Ha Ha Hey),”\u003c/strong> braided together various threads of the group’s evolving attitude: on the one hand, it was a lamentation on the exhausting nature of stardom, where De La complains about the parade of aspiring acts hounding them with demos in hand. On the other, the song’s playful post-disco groove injected a sonic ebullience that balanced the weary cynicism lining the group’s lyrics.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/43intIKOsACYuCBGtAix43?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It seemed as if the success of \u003cem>3 Feet High \u003c/em>gave the group license to go deeper into their artistic bag: more eclectic samples, more risk-taking (and less commercial) song concepts, and just plain more of everything; the CD version had 26 tracks and all but completely filled the standard 74 minute limit. Combine the album’s density with its wild, creative swings and \u003cem>Dead \u003c/em>can be a rather disjointed \u003cem>linear \u003c/em>listen if you’re simply going end to end. However, a random shuffle will likely land you onto one of the album’s many excellent songs.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1Chs3yVLdqewaHtmYjdN19?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>That includes their summer-in-the-park party anthem \u003cstrong>“A Roller Skating Jam Named ‘Saturdays’,”\u003c/strong> as well as a Stevie Wonder-inspired reflection on relationship rancor, “Talkin’ Bout Hey Love.” Meanwhile, on the humorous tip, \u003cstrong>“Bitties in the BK Lounge”\u003c/strong> might be the group’s funniest track. Leave it to De La to elevate a routine fast food encounter into an epic clash of the dozens between a bored cashier and snarky customer.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0cD0uNbIzZPCX6HX22mAi5?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard to overstate how creatively sprawling this album was, even within an era where hip-hop artists were experimenting with all kinds of new styles and modes. Especially in a time when hip-hop still felt deep in a fertile, “anything goes” state of imaginative possibility, De La continued to lead the vanguard of artists searching for the cutting edge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>F__ Being Hard, De La Soul Is Complicated: \u003c/strong>\u003cem>\u003cstrong>Buhloone Mindstate\u003c/strong>\u003c/em>\u003cstrong> (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Buhloone Mindstate\u003c/em> is arguably the most “concept album-y” title of all of De La’s releases but the joke is that whatever the album’s concept was, the group seemed content to keep it to themselves. It’s as if De La, with its well-established ire towards the recording industry, decided to just forgo any pretense of commercial accessibility in favor of being “just weird, lost in the woods,” according to Pitchfork’s Andrew Nosnitsky, who also lauded \u003cem>Buhloone \u003c/em>as “notoriously and proudly inaccessible.”\u003c/p>\n\u003cp>This may not sound like a selling point but despite feeling crafted like a puzzle box, it’s a pleasantly compact one — just 10 full-length songs — coming after its two behemoth predecessors. With practically no filler on \u003cem>Buhloone \u003c/em>besides its assorted, anticipated skits, the album’s hit/miss ratio is as good as the group has ever delivered and it’s no surprise that hardcore De La fans have long insisted it is the most complete work.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1bJqruJ4gXeIqpFsyPqHF1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>There’s a distinctively urgent energy to much of the album, with the group mining their deep trove of jazz, blues, rock and funk samples to power the propulsion on songs like “Eye Patch” and \u003cstrong>“En Focus,”\u003c/strong> or the back-half standout, \u003cstrong>“In The Woods,”\u003c/strong> featuring Shortie No Mas whose piercing ad-libs dot the LP. Three albums — and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\">one lawsuit\u003c/a> — into their career and the group seemed undeterred in repurposing samples that spanned from Michael Jackson hits to forgotten electro singles to classic soul-jazz sides.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6fnCrJKX2kw5Roh8LjCm4D?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>As tense as much of the album can be elsewhere, one of the few times where the group winds things down to a more contemplative groove is on the LP standout, \u003cstrong>“I Am, I Be.”\u003c/strong> The song features a particularly poignant set of verses by Pos who both opens and closes the track. By this point in the ’90s, he had already established himself as one of hip-hop’s most thoughtful lyricists, and here he pens a brilliant set of philosophical musings on everything from the challenges of parenthood to dissolving friendships to record label servitude: \u003c/p>\n\u003cblockquote>\u003cp>\nI am Posdnuos\u003cbr>I be the new generation of slaves\u003cbr>Here to make papes to buy a record exec rakes\u003cbr>The pile of revenue I create\u003cbr>But I guess I don’t get a cut ’cause my rent’s a month late\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5v125GhjtJgappJWdNDTV2?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s all done over a haunting, melancholy track featuring no less than seven different samples, most notably an anchoring Lou Rawls loop. The group took such a shine to the song that they recorded an instrumental version for the album as well and invited funk pioneer Maceo Parker to play his saxophone over it.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4WKEvBiDnakwRImM41yZXC?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>However frustrated De La may have been with the rap industry, it’s also clear they have tremendous love for the rap community. Comedic hip-hop legend Biz Markie, who De La later hired as a tour DJ, features on the closing track, “Stone Age,” while the single, \u003cstrong>“Ego Trippin’ [Part Two]”\u003c/strong> doesn’t just nod to the Ultramagnetics’ 1986 song of the same name, but is filled with easter eggs for their heroes and peers by quoting and re-using famous lines from Pete Rock and CL Smooth (“When I Reminisce Over You”), Big Daddy Kane (“Ain’t No Half Steppin'”) and Run DMC (“Sucker MCs”).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3I7Mq9ieKF1Eeq9mlZTUad?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Fans wouldn’t have known it at the time but \u003cem>Buhloone Mindstate \u003c/em>also marked an end to a particular era for the group. The maniacal mind of producer Prince Paul had guided each of De La’s first three albums but at some point post-\u003cem>Buhloone\u003c/em>, the group decided to amicably break ties with their mentor and take greater creative control over their subsequent releases. By De La’s next album, they were prepared to reintroduce themselves, no longer as youthful rebels but now as hip-hop doyen, intent on defending the culture’s moral center.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>No Offense To A Player But They Don’t Play: \u003c/strong>\u003cem>\u003cstrong>Stakes Is High \u003c/strong>\u003c/em>\u003cstrong>(1996)\u003c/strong>\u003c/p>\n\u003cp>The three years since \u003cem>Buhloone Mindstate \u003c/em>had yielded a sea-change within hip-hop. The rise and dominance of artists like Dr. Dre, Snoop Dogg, Mobb Deep and the Notorious B.I.G. — among many others — eschewed the Afrocentric positivity that De La’s Native Tongues Family had ushered in less than a decade prior, supplanting it with lurid, violent tales of the rich and infamous.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6j4aQL66B36i6OcU8fOEHJ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Hip-hop’s culture war had already been brewing across the ’90s, with artists like Masta Ace, Common and De La themselves mocking what they saw as a cynical embrace of gang-banging and drug-slanging posturing. But few albums drew a line in the sand as conspicuous as \u003cem>Stakes Is High. \u003c/em>The album’s very title was part of that manifesto, an insistence that nihilism shouldn’t be a form of entertainment. As Trugoy rhymes on the title track, he was “sick of swoll head rappers with their sickening raps / Clappers of gats, making the whole sick world collapse.” Elsewhere, he and Pos poke fun at wannabe gangsters idolizing the mafia — “Why you acting all spicy and sheisty / The only Italians you knew was icees” (“Itsoweezee”) — and empty slogans — “You cry ‘keeping it real’ but you should try keeping it right” (“The Bizness”). Not all their finger-wagging was so direct; after previously decrying R&B as “rhythm and b*******,” De La cook up a crossover parody with the hilariously titled\u003cstrong> “Baby Baby Baby Baby Ooh Baby”\u003c/strong> which nails the generic sound of mid-90s hip-hop/R&B songs so well that with slightly less sarcasm salted in, Tommy Boy could have legitimately released this as a radio single.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0wgRcYqvlkLondVqD5Pgmn?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Along those lines: The overall sonic feel of \u003cem>Stakes Is High \u003c/em>is playful and easy-going. Whatever fears fans may have had about the absence of Prince Paul, De La proved more than capable of maintaining without him (with a few assists by the likes of Spearhead X and then-newcomer Jay Dee/J-Dilla). Befitting an album released in early July of 1996, there’s a downright summery vibe to much of \u003cem>Stakes \u003c/em>thanks to a prevalence of mid-tempo beats and filtered sampling techniques; alongside OutKast’s \u003cem>ATLiens, \u003c/em>De La may have assembled one of the best backyard BBQ soundtracks of that year.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0zikBNHRf92YezkmmfEiSE?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>After the relative minimalism of \u003cem>Buhloone Mindstate\u003c/em>, \u003cem>Stakes Is High \u003c/em>moved back towards super-size, with 17 song-length tracks (though, notably, no more skits). For all their targeted barbs at the rest of the rap world, much of the album is just Trugoy and Posdnuos at their best, mixing clever braggadocio and heartfelt sentiment in their songwriting. It’s a more grounded effort compared to the zany eccentricity of some of their early releases, reflecting the maturity of the group itself. They weren’t a trio of Long Island naifs anymore; they had reached the upper tier of hip-hop’s hierarchy and \u003cem>Stakes Is High \u003c/em>demonstrated the seriousness of that stature — but not without its occasional winks and chuckles.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/135z3i5CjKr3H4BCT4lGPg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Certified Rhyme Meadows: \u003c/strong>\u003cem>\u003cstrong>Art Official Intelligence: Mosaic Thump \u003c/strong>\u003c/em>\u003cstrong>(2000) \u003c/strong>\u003cem>\u003cstrong>& Bionix \u003c/strong>\u003c/em>\u003cstrong>(2001)\u003c/strong>\u003c/p>\n\u003cp>In 1999, De La Soul and their label, Tommy Boy, had announced plans for \u003cem>Art Official Intelligence \u003c/em>as three albums, to be released several months apart. In reality, only the first two installments — \u003cem>Mosaic Thump\u003c/em> and \u003cem>Bionix\u003c/em> — came out, six months apart, marking the first new major set of De La material in four years. Unlike their previous albums, the \u003cem>AOI \u003c/em>volumes didn’t have a unifying concept driving them. According to Maseo, the goal behind them was to release, “just some … real good songs, working with a lot of people that we respect in the music industry.” He wasn’t kidding; the two discs featured over 20 guests, equivalent to all the guests on their first four albums combined.\u003c/p>\n\u003cp>Of all the albums now made available on streaming, the \u003cem>AOI \u003c/em>pair were the most conventional-sounding relative to music of the time. While De La would never have embraced the excesses of the shiny suit era in the late ’90s, their \u003cem>AOI \u003c/em>output was decidedly more radio-friendly: slower grooves, melodic hooks, love/sex themes, plus a slew of R&B features including Chaka Khan (“All Good?”), Glenn Lewis (“Am I Worth You?”) and Emily “yummy” Bingham (\u003cstrong>“Special”\u003c/strong>). The level of craftsmanship was still high but some of their younger, oppositional spirit now seemed replaced by a lighter, feel-good demeanor. De La at middle age (in rap years) seemed like some chill dudes.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7IanAuGaHmsRBDqdwrq1x4?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Then again, with 35 songs split between the two discs, there was still plenty of material for long-time fans. Songs like “Declaration,” “View” (both on \u003cem>Mosaic Thump) \u003c/em>and “Held Down” (\u003cem>Bionix\u003c/em>) continued Posdnuos’ 10+ year reign as one of the hip-hop’s most underrated lyricists while singles like \u003cstrong>“Oooh”\u003c/strong> and “Thru Ya City” (both on \u003cem>Mosaic Thump\u003c/em>) have bouncy club appeal, only on the group’s terms (unlike their first hit from 1989, “Me, Myself and I,” which De La have publicly disavowed at their own shows).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0m1EDSjYlgZ3OQteqhP0XR?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s a long-standing rumor that De La Soul wanted to wheel out so much music, all at once, in part to complete all obligations to Tommy Boy after years of frustration with the label. This may be apocryphal but if accurate, the cruel irony is that Tommy Boy beat the group to the punch: Before the third installment of \u003cem>AOI \u003c/em>could come out in 2001, the label underwent a corporate restructuring that orphaned a range of intended projects, \u003cem>AOI\u003c/em> included. Either way, the members of De La were finally, after 13 years, able to find a new path for their careers. The product of those new efforts was 2004’s \u003cem>The Grind Date\u003c/em>, a semi-independent release that became the group’s most celebrated album since \u003cem>Stakes Is High\u003c/em>; it has \u003cem>already \u003c/em>been on streaming services for years. Finally, that album’s older siblings get to join the party, and we’re all left richer for it. The D.A.I.S.Y. Age may be long over, but long live the De La Age. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+La+Soul+Is+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Streaming platforms were initially sold as an all-encompassing music library — every song at one’s fingertips! — yet there are inevitable gaps within their discographies. For hip-hop fans, few omissions have been more grievous than the missing catalog of De La Soul. One of the giants of hip-hop’s “golden era” of the late ’80s through mid ’90s, De La’s penchant for playful creativity would go on to influence everyone from the Pharcyde to OutKast, Kanye West to Childish Gambino. Despite this, almost all of their most important albums have been missing from (legal) streaming services. When founding member Trugoy the Dove \u003ca href=\"https://www.npr.org/2023/02/13/1156489848/dave-jolicoeur-de-la-soul-trugoy-the-dove-obituary\">unexpectedly passed away\u003c/a> last month, anyone seeking to revisit most of De La Soul’s best known works would have been left empty-handed and confused. We now take for granted that our favorite artists have their catalogs readily available to us yet when in a time of grief over Trugoy’s death, new and old fans were met with a deafening silence of options to revisit his musical legacy. \u003c/p>\n\u003cp>What kept De La’s tunes out of rotation was a frustrating morass of outdated contracts and record label parsimony. It got so bad that in 2014, the group put their entire catalog on their website to download for free for a day. As they told \u003cem>Rolling Stone \u003c/em>at the time, “We’ve been blessed to be in the Library of Congress, but we can’t even have our music on iTunes.” Likewise, there was an attempt in 2019 by Tommy Boy Records, which owns the rights to De La’s music, to put them on streaming but the terms of that deal were so unfavorable to the group that\u003ca href=\"https://www.complex.com/music/2019/02/de-la-soul-calls-out-former-record-label-over-unfair-streaming-deal\"> public outrage\u003c/a> forced Tommy Boy to abandon their plans.\u003c/p>\n\u003cp>None of these are just business concerns. Our social awareness of music has always been tied to how songs and albums are distributed. Much like the proverbial tree falling in the woods without a witness, if an artist has recorded the greatest album of all time, does it really matter if no one has the means to hear it? De La may have sold millions of physical cassettes, CDs and vinyl records in the past but how many households have the means to play any of those formats? De La’s absence from streaming sites has effectively erased their presence from the contemporary musical landscape \u003cem>and \u003c/em>threatens to minimize their historical import. It’s not just the artist who loses out; we, as listeners, are left poorer too.\u003c/p>\n\u003cp>All this has finally been rectified. The group’s most important recordings are now legally available on the internet. Given how long it’s taken for this music to arrive, we thought it necessary to revisit this storied catalog and its restored legacy, to help new fans familiarize themselves with the memorable (and singular) arc of their career and give veteran listeners a reintroduction to their most influential work.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Souls Who Flaunt Styles: \u003c/strong>\u003cem>\u003cstrong>3 Feet High and Rising \u003c/strong>\u003c/em>\u003cstrong>(1989)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Soul’s debut reshaped the public imagination of what hip-hop could be. The core trio — Posdnuos, Trugoy and DJ Pasemaster Mase — assisted by mentor/producer Prince Paul all came straight outta the wilds of suburban Long Island, rapping about advice-spouting crocodiles, Martian transmissions, and an artistic meta-concept they dubbed The D.A.I.S.Y. (Da Inner Soul, Y’all) Age.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7GOdFpyX7aUbHOaYt7mwyP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La were part of the Native Tongues, a collective of like-minded artists that included the Jungle Brothers, A Tribe Called Quest and Queen Latifah, among others. Promoting Afrocentric positivity, they purposefully set themselves to contrast against the boisterous brio exemplified by such icons of the era as LL Cool J, NWA or Big Daddy Kane. De La Soul, especially, became smart, sardonic avatars for Black misfits and nerds, mining the sublime from the absurd. On the album, this is partly showcased in their songcraft, especially the humorous skits peppered throughout that turned the format into a rap album staple. There was also the consistently irreverent ways in which Pos and Trugoy adroitly rapped on everything from the garishness of consumer culture (“Take It Off”) to sexy flirtations (“Buddy”) to personal hygiene (\u003cstrong>“A Little Bit of Soap”\u003c/strong>). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6zgClTCI7zRqQLf148Sozu?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>The group would prove too clever by half, however, at least for the mainstream music media who were quick to dub them “hip-hop hippies.” That encouraged their label, Tommy Boy, to lean further into the aesthetic by creating artwork doused in day-glo colors and cartoon daisies. De La had to refute this characterization in real time; on the album’s big radio hit, \u003cstrong>“Me, Myself and I,”\u003c/strong> Pos (aka Plug One) insists, “You say Plug One and Two are hippies / No we’re not / That’s pure plug bull.”\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/792UwI6utk5DMQUT1KXa5E?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Despite these grumblings, \u003cem>3 Feet High \u003c/em>still brimmed in mirth, including on the musical side, overseen by Prince Paul and including contributions by the entire group. Sample-hungry rap producers had spent the previous few years mining the James Brown and P-Funk catalogs and though De La sampled from both on their debut, they were more likely to create memorable musical moments from children’s television songs (“The Magic Number”), obscure doo-wop singles (“Plug Tunin'”) and classic ’80s pop hits (“Say No Go”). Similar to how their DJ, PA Mase, could expertly splice up a dizzying number of snippets on a song like \u003cstrong>“Cool Breeze on the Rocks,”\u003c/strong> the group collectively embraced unfettered sampling as a calling card, a way to demonstrate how drawing upon “found sounds” could create new sounds. Ironically though, their love for sampling is one reason why it took so long for their music to make it to streaming; no one wanted to foot the bill to properly clear all those samples. In fact, the version of the track that appears on streaming is completely reimagined.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5iYjvQbLvISapScuxb4XTo?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Even 30+ years later, \u003cem>3 Feet High\u003c/em> still sounds wondrous and weird, even compared to their later albums, let alone the rest of the hip-hop landscape. Scores of other artists have tried to be clever but few, if any, have embodied a creative impulse as irrepressible and risk-taking. De La’s debut was a proof of concept that the right combination of ingenuity and frivolity could create something indelibly, impossibly hip. (Just don’t call them hippies.)\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Time For Heads To Get Flown: \u003c/strong>\u003cem>\u003cstrong>De La Soul Is Dead\u003c/strong>\u003c/em>\u003cstrong> (1991)\u003c/strong>\u003c/p>\n\u003cp>Imagine debuting with a gold record, lauded as darlings of “alternative” rap, and then using your follow-up LP to unceremoniously kill off that gilded goose. If the title, \u003cem>De La Soul Is Dead,\u003c/em> wasn’t enough of an announcement of intent, the album’s cover removed any lingering ambiguity: a broken pot of daisies, knocked upon its side.\u003c/p>\n\u003cp>\u003cem>3 Feet High \u003c/em>felt like a kaleidoscope of colorful ideas splashed against a wall and the group’s sophomore effort was equally intentional but with a darker palette. Consider this LP’s recurring skits: all meta-level self-deprecation where we overhear a pack of misanthropes listening to the album in real time, trashing the group and its pretensions at every opportunity.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4YxeQH9KdAp0JRyD5YQAFP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La also dabbled in heavier social commentary, whether mocking the violent posturing of gangsta rappers (“Afro Connections at the Hi 5”), addressing the trauma of drug addiction (“My Brother’s a Basehead”) or most surprisingly, turning a story about familial sexual abuse (\u003cstrong>“Millie Pulled a Pistol on Santa”\u003c/strong>) into a commercial single (and one of the most depressing holiday songs ever). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7HuylwCfdFfEH5Qc9MZ7dT?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Yet, De La’s symbolic death and reinvention wasn’t nearly as dramatic as fans might have feared. Though the trio puffed their chests out a bit further and their humor leaned a touch darker, the album still brimmed with a similar exuberance to \u003cem>3 Feet High\u003c/em>. The LP’s lead single, \u003cstrong>“Ring Ring Ring (Ha Ha Hey),”\u003c/strong> braided together various threads of the group’s evolving attitude: on the one hand, it was a lamentation on the exhausting nature of stardom, where De La complains about the parade of aspiring acts hounding them with demos in hand. On the other, the song’s playful post-disco groove injected a sonic ebullience that balanced the weary cynicism lining the group’s lyrics.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/43intIKOsACYuCBGtAix43?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It seemed as if the success of \u003cem>3 Feet High \u003c/em>gave the group license to go deeper into their artistic bag: more eclectic samples, more risk-taking (and less commercial) song concepts, and just plain more of everything; the CD version had 26 tracks and all but completely filled the standard 74 minute limit. Combine the album’s density with its wild, creative swings and \u003cem>Dead \u003c/em>can be a rather disjointed \u003cem>linear \u003c/em>listen if you’re simply going end to end. However, a random shuffle will likely land you onto one of the album’s many excellent songs.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1Chs3yVLdqewaHtmYjdN19?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>That includes their summer-in-the-park party anthem \u003cstrong>“A Roller Skating Jam Named ‘Saturdays’,”\u003c/strong> as well as a Stevie Wonder-inspired reflection on relationship rancor, “Talkin’ Bout Hey Love.” Meanwhile, on the humorous tip, \u003cstrong>“Bitties in the BK Lounge”\u003c/strong> might be the group’s funniest track. Leave it to De La to elevate a routine fast food encounter into an epic clash of the dozens between a bored cashier and snarky customer.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0cD0uNbIzZPCX6HX22mAi5?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard to overstate how creatively sprawling this album was, even within an era where hip-hop artists were experimenting with all kinds of new styles and modes. Especially in a time when hip-hop still felt deep in a fertile, “anything goes” state of imaginative possibility, De La continued to lead the vanguard of artists searching for the cutting edge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>F__ Being Hard, De La Soul Is Complicated: \u003c/strong>\u003cem>\u003cstrong>Buhloone Mindstate\u003c/strong>\u003c/em>\u003cstrong> (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Buhloone Mindstate\u003c/em> is arguably the most “concept album-y” title of all of De La’s releases but the joke is that whatever the album’s concept was, the group seemed content to keep it to themselves. It’s as if De La, with its well-established ire towards the recording industry, decided to just forgo any pretense of commercial accessibility in favor of being “just weird, lost in the woods,” according to Pitchfork’s Andrew Nosnitsky, who also lauded \u003cem>Buhloone \u003c/em>as “notoriously and proudly inaccessible.”\u003c/p>\n\u003cp>This may not sound like a selling point but despite feeling crafted like a puzzle box, it’s a pleasantly compact one — just 10 full-length songs — coming after its two behemoth predecessors. With practically no filler on \u003cem>Buhloone \u003c/em>besides its assorted, anticipated skits, the album’s hit/miss ratio is as good as the group has ever delivered and it’s no surprise that hardcore De La fans have long insisted it is the most complete work.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1bJqruJ4gXeIqpFsyPqHF1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>There’s a distinctively urgent energy to much of the album, with the group mining their deep trove of jazz, blues, rock and funk samples to power the propulsion on songs like “Eye Patch” and \u003cstrong>“En Focus,”\u003c/strong> or the back-half standout, \u003cstrong>“In The Woods,”\u003c/strong> featuring Shortie No Mas whose piercing ad-libs dot the LP. Three albums — and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\">one lawsuit\u003c/a> — into their career and the group seemed undeterred in repurposing samples that spanned from Michael Jackson hits to forgotten electro singles to classic soul-jazz sides.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6fnCrJKX2kw5Roh8LjCm4D?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>As tense as much of the album can be elsewhere, one of the few times where the group winds things down to a more contemplative groove is on the LP standout, \u003cstrong>“I Am, I Be.”\u003c/strong> The song features a particularly poignant set of verses by Pos who both opens and closes the track. By this point in the ’90s, he had already established himself as one of hip-hop’s most thoughtful lyricists, and here he pens a brilliant set of philosophical musings on everything from the challenges of parenthood to dissolving friendships to record label servitude: \u003c/p>\n\u003cblockquote>\u003cp>\nI am Posdnuos\u003cbr>I be the new generation of slaves\u003cbr>Here to make papes to buy a record exec rakes\u003cbr>The pile of revenue I create\u003cbr>But I guess I don’t get a cut ’cause my rent’s a month late\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5v125GhjtJgappJWdNDTV2?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s all done over a haunting, melancholy track featuring no less than seven different samples, most notably an anchoring Lou Rawls loop. The group took such a shine to the song that they recorded an instrumental version for the album as well and invited funk pioneer Maceo Parker to play his saxophone over it.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4WKEvBiDnakwRImM41yZXC?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>However frustrated De La may have been with the rap industry, it’s also clear they have tremendous love for the rap community. Comedic hip-hop legend Biz Markie, who De La later hired as a tour DJ, features on the closing track, “Stone Age,” while the single, \u003cstrong>“Ego Trippin’ [Part Two]”\u003c/strong> doesn’t just nod to the Ultramagnetics’ 1986 song of the same name, but is filled with easter eggs for their heroes and peers by quoting and re-using famous lines from Pete Rock and CL Smooth (“When I Reminisce Over You”), Big Daddy Kane (“Ain’t No Half Steppin'”) and Run DMC (“Sucker MCs”).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3I7Mq9ieKF1Eeq9mlZTUad?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Fans wouldn’t have known it at the time but \u003cem>Buhloone Mindstate \u003c/em>also marked an end to a particular era for the group. The maniacal mind of producer Prince Paul had guided each of De La’s first three albums but at some point post-\u003cem>Buhloone\u003c/em>, the group decided to amicably break ties with their mentor and take greater creative control over their subsequent releases. By De La’s next album, they were prepared to reintroduce themselves, no longer as youthful rebels but now as hip-hop doyen, intent on defending the culture’s moral center.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>No Offense To A Player But They Don’t Play: \u003c/strong>\u003cem>\u003cstrong>Stakes Is High \u003c/strong>\u003c/em>\u003cstrong>(1996)\u003c/strong>\u003c/p>\n\u003cp>The three years since \u003cem>Buhloone Mindstate \u003c/em>had yielded a sea-change within hip-hop. The rise and dominance of artists like Dr. Dre, Snoop Dogg, Mobb Deep and the Notorious B.I.G. — among many others — eschewed the Afrocentric positivity that De La’s Native Tongues Family had ushered in less than a decade prior, supplanting it with lurid, violent tales of the rich and infamous.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6j4aQL66B36i6OcU8fOEHJ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Hip-hop’s culture war had already been brewing across the ’90s, with artists like Masta Ace, Common and De La themselves mocking what they saw as a cynical embrace of gang-banging and drug-slanging posturing. But few albums drew a line in the sand as conspicuous as \u003cem>Stakes Is High. \u003c/em>The album’s very title was part of that manifesto, an insistence that nihilism shouldn’t be a form of entertainment. As Trugoy rhymes on the title track, he was “sick of swoll head rappers with their sickening raps / Clappers of gats, making the whole sick world collapse.” Elsewhere, he and Pos poke fun at wannabe gangsters idolizing the mafia — “Why you acting all spicy and sheisty / The only Italians you knew was icees” (“Itsoweezee”) — and empty slogans — “You cry ‘keeping it real’ but you should try keeping it right” (“The Bizness”). Not all their finger-wagging was so direct; after previously decrying R&B as “rhythm and b*******,” De La cook up a crossover parody with the hilariously titled\u003cstrong> “Baby Baby Baby Baby Ooh Baby”\u003c/strong> which nails the generic sound of mid-90s hip-hop/R&B songs so well that with slightly less sarcasm salted in, Tommy Boy could have legitimately released this as a radio single.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0wgRcYqvlkLondVqD5Pgmn?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Along those lines: The overall sonic feel of \u003cem>Stakes Is High \u003c/em>is playful and easy-going. Whatever fears fans may have had about the absence of Prince Paul, De La proved more than capable of maintaining without him (with a few assists by the likes of Spearhead X and then-newcomer Jay Dee/J-Dilla). Befitting an album released in early July of 1996, there’s a downright summery vibe to much of \u003cem>Stakes \u003c/em>thanks to a prevalence of mid-tempo beats and filtered sampling techniques; alongside OutKast’s \u003cem>ATLiens, \u003c/em>De La may have assembled one of the best backyard BBQ soundtracks of that year.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0zikBNHRf92YezkmmfEiSE?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>After the relative minimalism of \u003cem>Buhloone Mindstate\u003c/em>, \u003cem>Stakes Is High \u003c/em>moved back towards super-size, with 17 song-length tracks (though, notably, no more skits). For all their targeted barbs at the rest of the rap world, much of the album is just Trugoy and Posdnuos at their best, mixing clever braggadocio and heartfelt sentiment in their songwriting. It’s a more grounded effort compared to the zany eccentricity of some of their early releases, reflecting the maturity of the group itself. They weren’t a trio of Long Island naifs anymore; they had reached the upper tier of hip-hop’s hierarchy and \u003cem>Stakes Is High \u003c/em>demonstrated the seriousness of that stature — but not without its occasional winks and chuckles.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/135z3i5CjKr3H4BCT4lGPg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Certified Rhyme Meadows: \u003c/strong>\u003cem>\u003cstrong>Art Official Intelligence: Mosaic Thump \u003c/strong>\u003c/em>\u003cstrong>(2000) \u003c/strong>\u003cem>\u003cstrong>& Bionix \u003c/strong>\u003c/em>\u003cstrong>(2001)\u003c/strong>\u003c/p>\n\u003cp>In 1999, De La Soul and their label, Tommy Boy, had announced plans for \u003cem>Art Official Intelligence \u003c/em>as three albums, to be released several months apart. In reality, only the first two installments — \u003cem>Mosaic Thump\u003c/em> and \u003cem>Bionix\u003c/em> — came out, six months apart, marking the first new major set of De La material in four years. Unlike their previous albums, the \u003cem>AOI \u003c/em>volumes didn’t have a unifying concept driving them. According to Maseo, the goal behind them was to release, “just some … real good songs, working with a lot of people that we respect in the music industry.” He wasn’t kidding; the two discs featured over 20 guests, equivalent to all the guests on their first four albums combined.\u003c/p>\n\u003cp>Of all the albums now made available on streaming, the \u003cem>AOI \u003c/em>pair were the most conventional-sounding relative to music of the time. While De La would never have embraced the excesses of the shiny suit era in the late ’90s, their \u003cem>AOI \u003c/em>output was decidedly more radio-friendly: slower grooves, melodic hooks, love/sex themes, plus a slew of R&B features including Chaka Khan (“All Good?”), Glenn Lewis (“Am I Worth You?”) and Emily “yummy” Bingham (\u003cstrong>“Special”\u003c/strong>). The level of craftsmanship was still high but some of their younger, oppositional spirit now seemed replaced by a lighter, feel-good demeanor. De La at middle age (in rap years) seemed like some chill dudes.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7IanAuGaHmsRBDqdwrq1x4?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Then again, with 35 songs split between the two discs, there was still plenty of material for long-time fans. Songs like “Declaration,” “View” (both on \u003cem>Mosaic Thump) \u003c/em>and “Held Down” (\u003cem>Bionix\u003c/em>) continued Posdnuos’ 10+ year reign as one of the hip-hop’s most underrated lyricists while singles like \u003cstrong>“Oooh”\u003c/strong> and “Thru Ya City” (both on \u003cem>Mosaic Thump\u003c/em>) have bouncy club appeal, only on the group’s terms (unlike their first hit from 1989, “Me, Myself and I,” which De La have publicly disavowed at their own shows).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0m1EDSjYlgZ3OQteqhP0XR?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a long-standing rumor that De La Soul wanted to wheel out so much music, all at once, in part to complete all obligations to Tommy Boy after years of frustration with the label. This may be apocryphal but if accurate, the cruel irony is that Tommy Boy beat the group to the punch: Before the third installment of \u003cem>AOI \u003c/em>could come out in 2001, the label underwent a corporate restructuring that orphaned a range of intended projects, \u003cem>AOI\u003c/em> included. Either way, the members of De La were finally, after 13 years, able to find a new path for their careers. The product of those new efforts was 2004’s \u003cem>The Grind Date\u003c/em>, a semi-independent release that became the group’s most celebrated album since \u003cem>Stakes Is High\u003c/em>; it has \u003cem>already \u003c/em>been on streaming services for years. Finally, that album’s older siblings get to join the party, and we’re all left richer for it. The D.A.I.S.Y. Age may be long over, but long live the De La Age. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+La+Soul+Is+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Coldest Case’ is Serial’s Latest Podcast on Murder and Memory",
"headTitle": "‘The Coldest Case’ is Serial’s Latest Podcast on Murder and Memory | KQED",
"content": "\u003cp>In Kim Barker’s memory, the city of Laramie, Wyo. — where she spent some years as a teenager — was a miserable place. A seasoned journalist with \u003cem>The New York Times\u003c/em>, Barker is now also the host of \u003ca href=\"https://www.nytimes.com/2023/02/16/podcasts/serial-laramie-cold-case.html\">\u003cem>The Coldest Case in Laramie\u003c/em>\u003c/a>, a new audio documentary series from Serial Productions that brings her back into the jagged edges of her former home.\u003c/p>\n\u003cp>[aside postid='arts_13878051']The cold case in question took place almost four decades ago. In 1985, Shelli Wiley, a University of Wyoming student, was brutally killed in her apartment, which was also set ablaze. The ensuing police investigation brought nothing definite. Two separate arrests were eventually made for the crime, but neither stuck. And so, for a long time, the case was left to freeze.\u003c/p>\n\u003cp>At the time of the murder, Barker was a kid in Laramie. The case had stuck with her: its brutality, its open-endedness. Decades later, while waylaid by the pandemic, she found herself checking back on the murder — only to find a fresh development.\u003c/p>\n\u003cp>In 2016, a former police officer, who had lived near Wiley’s apartment, was arrested for the murder on the basis of blood evidence linking him to the scene. As it turned out, many in the area had long harbored suspicions that he was the culprit. This felt like a definite resolution. But that lead went nowhere as well. Shortly after the arrest, the charges against him were surprisingly dropped, and no new charges have been filed since.\u003c/p>\n\u003cp>What, exactly, is going on here? This is where Barker enters the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q0ZcQWOsnO8\u003c/p>\n\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> isn’t quite a conventional true crime story. It certainly doesn’t want to be; even the creators explicitly insist the podcast is not “a case of whodunit.” Instead, the show is best described as an extensive accounting of what happens when the confusion around a horrific crime meets a gravitational pull for closure. It’s a mess.\u003c/p>\n\u003cp>At the heart of \u003cem>The Coldest Case in Laramie\u003c/em> is an interest in the unreliability of memory and the slipperiness of truth. One of the podcast’s more striking moments revolves around a woman who had been living with the victim at the time. The woman had a memory of being sent a letter with a bunch of money and a warning to skip town not long after the murder. The message had seared into her brain for decades, but, as revealed through Barker’s reporting, few things about that memory are what they seem. Barker later presents the woman with pieces of evidence that radically challenge her core memory, and you can almost hear a mind change.\u003c/p>\n\u003cp>[aside postid='pop_109009']\u003cem>The Coldest Case in Laramie\u003c/em> is undeniably compelling, but there’s also something about the show’s underlying themes that feels oddly commonplace. We’re currently neck-deep in a documentary boom so utterly dominated by true crime stories that we’re pretty much well past the point of saturation. At this point, these themes of unreliable memory and subjective truths feel like they should be starting points for a story like this. And given the pedigree of Serial Productions, responsible for seminal projects like \u003ca href=\"https://www.npr.org/2017/04/07/522912205/pop-culture-happy-hour-s-town-and-chewing-gum\">\u003cem>S-Town\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2020/10/12/922092481/podcast-examines-how-nice-white-parents-become-obstacles-in-integrated-schools\">\u003cem>Nice White Parents\u003c/em>\u003c/a> — and, you know, \u003ca href=\"https://www.npr.org/2022/09/20/1124141699/serial-adnan-syed\">\u003cem>Serial\u003c/em>\u003c/a> — it’s hard not to feel accustomed to expecting something more; a bigger, newer idea on which to hang this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, none of this is to undercut the reporting as well as the still very much important ideas driving the podcast. It will always be terrifying how our justice system depends so much on something as capricious as memory, and how different people might look at the same piece of information only to arrive at completely different conclusions. By the end of the series, even Barker begins to reconsider how she remembers the Laramie where she grew up. But the increasing expected nature of these themes in nonfiction crime narratives start to beg the question: Where do we go from here?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Coldest+Case%27+is+Serial%27s+latest+podcast+on+murder+and+memory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Kim Barker’s memory, the city of Laramie, Wyo. — where she spent some years as a teenager — was a miserable place. A seasoned journalist with \u003cem>The New York Times\u003c/em>, Barker is now also the host of \u003ca href=\"https://www.nytimes.com/2023/02/16/podcasts/serial-laramie-cold-case.html\">\u003cem>The Coldest Case in Laramie\u003c/em>\u003c/a>, a new audio documentary series from Serial Productions that brings her back into the jagged edges of her former home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The cold case in question took place almost four decades ago. In 1985, Shelli Wiley, a University of Wyoming student, was brutally killed in her apartment, which was also set ablaze. The ensuing police investigation brought nothing definite. Two separate arrests were eventually made for the crime, but neither stuck. And so, for a long time, the case was left to freeze.\u003c/p>\n\u003cp>At the time of the murder, Barker was a kid in Laramie. The case had stuck with her: its brutality, its open-endedness. Decades later, while waylaid by the pandemic, she found herself checking back on the murder — only to find a fresh development.\u003c/p>\n\u003cp>In 2016, a former police officer, who had lived near Wiley’s apartment, was arrested for the murder on the basis of blood evidence linking him to the scene. As it turned out, many in the area had long harbored suspicions that he was the culprit. This felt like a definite resolution. But that lead went nowhere as well. Shortly after the arrest, the charges against him were surprisingly dropped, and no new charges have been filed since.\u003c/p>\n\u003cp>What, exactly, is going on here? This is where Barker enters the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/q0ZcQWOsnO8'\n title='//www.youtube.com/embed/q0ZcQWOsnO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> isn’t quite a conventional true crime story. It certainly doesn’t want to be; even the creators explicitly insist the podcast is not “a case of whodunit.” Instead, the show is best described as an extensive accounting of what happens when the confusion around a horrific crime meets a gravitational pull for closure. It’s a mess.\u003c/p>\n\u003cp>At the heart of \u003cem>The Coldest Case in Laramie\u003c/em> is an interest in the unreliability of memory and the slipperiness of truth. One of the podcast’s more striking moments revolves around a woman who had been living with the victim at the time. The woman had a memory of being sent a letter with a bunch of money and a warning to skip town not long after the murder. The message had seared into her brain for decades, but, as revealed through Barker’s reporting, few things about that memory are what they seem. Barker later presents the woman with pieces of evidence that radically challenge her core memory, and you can almost hear a mind change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> is undeniably compelling, but there’s also something about the show’s underlying themes that feels oddly commonplace. We’re currently neck-deep in a documentary boom so utterly dominated by true crime stories that we’re pretty much well past the point of saturation. At this point, these themes of unreliable memory and subjective truths feel like they should be starting points for a story like this. And given the pedigree of Serial Productions, responsible for seminal projects like \u003ca href=\"https://www.npr.org/2017/04/07/522912205/pop-culture-happy-hour-s-town-and-chewing-gum\">\u003cem>S-Town\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2020/10/12/922092481/podcast-examines-how-nice-white-parents-become-obstacles-in-integrated-schools\">\u003cem>Nice White Parents\u003c/em>\u003c/a> — and, you know, \u003ca href=\"https://www.npr.org/2022/09/20/1124141699/serial-adnan-syed\">\u003cem>Serial\u003c/em>\u003c/a> — it’s hard not to feel accustomed to expecting something more; a bigger, newer idea on which to hang this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, none of this is to undercut the reporting as well as the still very much important ideas driving the podcast. It will always be terrifying how our justice system depends so much on something as capricious as memory, and how different people might look at the same piece of information only to arrive at completely different conclusions. By the end of the series, even Barker begins to reconsider how she remembers the Laramie where she grew up. But the increasing expected nature of these themes in nonfiction crime narratives start to beg the question: Where do we go from here?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Coldest+Case%27+is+Serial%27s+latest+podcast+on+murder+and+memory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are a few key \u003ca href=\"https://www.mlb.com/rule-changes-2023\">rule changes\u003c/a> coming to Major League Baseball this season, but one in particular is already throwing players for a curve.\u003c/p>\n\u003cp>[aside postid='arts_13913451']Spring training games underway in Florida and Arizona have featured a new pitch clock, which gives pitchers a set amount of time before they have to throw the ball.\u003c/p>\n\u003cp>The timer is set to 15 seconds if the bases are empty or 20 seconds if there are runners on base, and the hitter has to be in the batter’s box with eight seconds left on the clock.\u003c/p>\n\u003cfigure id=\"attachment_13925672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925672\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Home plate umpire Jim Wolf waits as the pitch clock counts down during the first inning of a spring training baseball game between the Milwaukee Brewers and the Los Angeles Dodgers, February 2023. \u003ccite>(AP Photo/Morry Gash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MLB officials say the pitch clock can help reduce the \u003ca href=\"https://www.baseball-reference.com/leagues/majors/misc.shtml\">length of games\u003c/a>, which have averaged more than three hours long in recent years. But the new rule has drawn some criticism, and over the weekend it caused bewilderment on the diamond.\u003c/p>\n\u003cp>On Saturday, during a spring training matchup between the Atlanta Braves and the Boston Red Sox, Braves hitter Cal Conley was called out for failing to get into the batter’s box on time. The game — which was in the bottom of the ninth inning with a full count, two outs and the bases loaded — \u003ca href=\"https://apnews.com/article/mlb-sports-atlanta-braves-88696fe93efdb37ca25fd6cf396e8a1d\">ended in a tie\u003c/a>. Conley reacted with shocked laughter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JeffPassan/status/1629590614139633664\u003c/p>\n\u003cp>The pitch clock isn’t the only new rule popping up this season.\u003c/p>\n\u003cp>First, second and third bases have grown in size from 15 inches square to 18 inches square, which the MLB says will reduce player injuries. The league is also requiring two infielders on each side of the second-base line before a pitch is thrown, preventing them from \u003ca href=\"https://www.si.com/mlb/2022/11/21/banning-infield-shifts-impact\">crowding one side or another\u003c/a> in a defensive maneuver known as the “infield shift.”\u003c/p>\n\u003cp>League officials say the rule changes didn’t come out of left field but rather were developed in response to feedback from players and umpires, and were first tested in the minor leagues.\u003c/p>\n\u003cp>[aside postid='arts_13921216']“These steps are designed to improve pace of play, increase action, and reduce injuries, all of which are goals that have overwhelming support among our fans,” MLB commissioner Robert D. Manfred, Jr. \u003ca href=\"https://www.mlb.com/press-release/press-release-mlb-announces-rule-changes-for-2023-season\">said in a statement in September\u003c/a>, when the new rules were approved.\u003c/p>\n\u003cp>“Throughout the extensive testing of recent years, Minor League personnel and a wide range of fans — from the most loyal to casual observers — have recognized the collective impact of these changes in making the game even better and more enjoyable,” Manfred added.\u003c/p>\n\u003cp>For example, last year in the minor leagues the pitch clock helped reduce the average length of a game by 25 minutes, and the larger bases led to a 13% reduction in “injury events” near the bases, the MLB said.\u003c/p>\n\u003cp>That teams will be able to get used to the new rules — particularly the pitch clock — during spring training. 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"content": "\u003cdiv class=\"post-body\">\u003cp>Spring training games underway in Florida and Arizona have featured a new pitch clock, which gives pitchers a set amount of time before they have to throw the ball.\u003c/p>\n\u003cp>The timer is set to 15 seconds if the bases are empty or 20 seconds if there are runners on base, and the hitter has to be in the batter’s box with eight seconds left on the clock.\u003c/p>\n\u003cfigure id=\"attachment_13925672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925672\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23057819581580_custom-898009c6a9eb2c69915918be1956924ff0fb2b52-scaled-e1677530743150.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Home plate umpire Jim Wolf waits as the pitch clock counts down during the first inning of a spring training baseball game between the Milwaukee Brewers and the Los Angeles Dodgers, February 2023. \u003ccite>(AP Photo/Morry Gash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MLB officials say the pitch clock can help reduce the \u003ca href=\"https://www.baseball-reference.com/leagues/majors/misc.shtml\">length of games\u003c/a>, which have averaged more than three hours long in recent years. But the new rule has drawn some criticism, and over the weekend it caused bewilderment on the diamond.\u003c/p>\n\u003cp>On Saturday, during a spring training matchup between the Atlanta Braves and the Boston Red Sox, Braves hitter Cal Conley was called out for failing to get into the batter’s box on time. The game — which was in the bottom of the ninth inning with a full count, two outs and the bases loaded — \u003ca href=\"https://apnews.com/article/mlb-sports-atlanta-braves-88696fe93efdb37ca25fd6cf396e8a1d\">ended in a tie\u003c/a>. Conley reacted with shocked laughter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The pitch clock isn’t the only new rule popping up this season.\u003c/p>\n\u003cp>First, second and third bases have grown in size from 15 inches square to 18 inches square, which the MLB says will reduce player injuries. The league is also requiring two infielders on each side of the second-base line before a pitch is thrown, preventing them from \u003ca href=\"https://www.si.com/mlb/2022/11/21/banning-infield-shifts-impact\">crowding one side or another\u003c/a> in a defensive maneuver known as the “infield shift.”\u003c/p>\n\u003cp>League officials say the rule changes didn’t come out of left field but rather were developed in response to feedback from players and umpires, and were first tested in the minor leagues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“These steps are designed to improve pace of play, increase action, and reduce injuries, all of which are goals that have overwhelming support among our fans,” MLB commissioner Robert D. Manfred, Jr. \u003ca href=\"https://www.mlb.com/press-release/press-release-mlb-announces-rule-changes-for-2023-season\">said in a statement in September\u003c/a>, when the new rules were approved.\u003c/p>\n\u003cp>“Throughout the extensive testing of recent years, Minor League personnel and a wide range of fans — from the most loyal to casual observers — have recognized the collective impact of these changes in making the game even better and more enjoyable,” Manfred added.\u003c/p>\n\u003cp>For example, last year in the minor leagues the pitch clock helped reduce the average length of a game by 25 minutes, and the larger bases led to a 13% reduction in “injury events” near the bases, the MLB said.\u003c/p>\n\u003cp>That teams will be able to get used to the new rules — particularly the pitch clock — during spring training. And despite the pushback, some pitchers have suggested the new timer may actually give them an advantage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can work extremely quickly, or I can work extremely slow,” New York Mets star pitcher Max Scherzer \u003ca href=\"https://www.espn.com/mlb/story/_/id/35746821/max-scherzer-likes-new-mlb-rules-says-pitchers-totally-dictate-pace\">told reporters after his first spring training start\u003c/a>. “There is another layer here to be able to mess with the hitter’s timing.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+a+new+MLB+rule+could+change+baseball+games+this+season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The distributor of Scott Adams’ \u003cem>Dilbert\u003c/em> comic strip, Andrews McMeel Universal, announced Sunday it was severing ties with the cartoonist.\u003c/p>\n\u003cp>This came after Adams urged white people “to get the hell away from Black people” during a racist rant on his \u003ca href=\"https://www.youtube.com/watch?v=K6TnAn7qV1s\">online video program\u003c/a> last week, during which he labeled Black people a “hate group.”\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em>, \u003cem>The Los Angeles Times\u003c/em> and other newspapers across the country had already announced they would no longer carry the syndicated comic strip.\u003c/p>\n\u003cp>[aside postid='pop_113061']Adams opens the episode of the online program discussing the presidential bid by Republican multimillionaire entrepreneur Vivek Ramaswamy. Then, 13 minutes into the video, Adams began his screed by citing the results of a \u003ca href=\"https://www.rasmussenreports.com/public_content/lifestyle/general_lifestyle/january_2023/not_woke_yet_most_voters_reject_anti_white_beliefs\">recent public opinion poll\u003c/a> conducted by the conservative-leaning Rasmussen Reports.\u003c/p>\n\u003cp>By telephone and online, the group surveyed a thousand American adults, with this question: “Do you agree or disagree with this statement, ‘It’s OK to be white’?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report found that 72% of the respondents agreed, including 53% who are Black. Some 26% of Black respondents disagreed, and 21% said they are “not sure.” The poll also found that 79% of all the respondents agreed with the statement “Black people can be racist too.”\u003c/p>\n\u003cp>The statement “It’s OK to be white” has been repeated on right-wing websites and in speeches. \u003ca href=\"https://www.adl.org/resources/hate-symbol/its-okay-be-white\">The Anti-Defamation League has denounced it as a hate chant\u003c/a>.\u003c/p>\n\u003cp>On his YouTube livestream program, \u003cem>Real Coffee with Scott Adams\u003c/em>, the cartoonist said the results of that poll demonstrate the country’s racial tensions “can’t be fixed.”\u003c/p>\n\u003cp>Adams previously claimed he was a \u003ca href=\"https://twitter.com/scottadamssays/status/1277411944459153408?lang=en\">victim of racism in Hollywood\u003c/a> and corporate America. He was also a vocal \u003ca href=\"https://www.wired.com/2019/11/geeks-guide-scott-adams/?fbclid=IwAR3ZuRWOCwU-eeMKgCFjt5GZtNRyFAHXMAxvUUhqVIZfmSbDktfHwVowKh0&mbid=social_facebook&utm_brand=wired&utm_medium=social&utm_social-type=owned&utm_source=facebook\">supporter of Donald Trump\u003c/a>. For three decades, he produced his comic strip \u003cem>Dilbert\u003c/em>, which satirizes office culture. According to \u003ca href=\"http://syndication.andrewsmcmeel.com/comics/dilbert/\">Andrews McMeel Syndication\u003c/a>, \u003cem>Dilbert\u003c/em> appeared in 2,000 newspapers in 65 countries and 25 languages.\u003c/p>\n\u003cp>Adams has made news for other controversial statements, including \u003ca href=\"https://web.archive.org/web/20070222235609/http://dilbertblog.typepad.com/the_dilbert_blog/2006/10/sunday_blogging.html\">questioning the accuracy of the Holocaust death toll\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13923606']On his video show last week, the 65 year old said he had been identifying as Black “because I like to be on the winning team,” and that he used to help the Black community. Adams said the results of the Rasmussen poll changed his mind.\u003c/p>\n\u003cp>“It turns out that nearly half of that team doesn’t think I’m okay to be white,” he said, adding that he would re-identify as white. “I’m going to back off from being helpful to Black America because it doesn’t seem like it pays off,” he said. “I get called a racist. That’s the only outcome. It makes no sense to help Black Americans if you’re white. It’s over. Don’t even think it’s worth trying.”\u003c/p>\n\u003cp>“I’m not saying start a war or do anything bad,” he added. “Nothing like that. I’m just saying get away. Just get away.”\u003c/p>\n\u003cp>Editor Chris Quinn, of cleveland.com/\u003cem>The Plain Dealer\u003c/em> in Cleveland, \u003ca href=\"https://www.cleveland.com/news/2023/02/we-are-dropping-the-dilbert-comic-strip-because-of-creator-scott-adams-racist-rant-letter-from-the-editor.html\">called \u003c/a>Adam’s video statement “hateful and racist.”\u003c/p>\n\u003cp>“We are not a home for those who espouse racism,” Quinn wrote. “Adams’ reprehensible statements come during Black History Month, when \u003cem>The Plain Dealer\u003c/em> has been publishing stories about the work being performed by so many to overcome the damage done by racist decisions and policy.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.oregonlive.com/opinion/2023/02/letter-from-the-editor-why-we-are-no-longer-running-the-comic-strip-dilbert.html\">letter from the editor, \u003cem>The Oregonian\u003c/em>\u003c/a>’s Therese Bottomly wrote, “Some readers will no doubt deride my decision as an example of ‘overly woke’ culture or as a knee-jerk politically correct response. What about free speech, they might ask. Isn’t this censorship? No one is taking Adams’ free speech rights away. He is free to share his abhorrent comments on YouTube and Twitter so long as those companies allow them. This also isn’t censorship; it’s editing. Editors make decisions every day about what to publish, balancing the need to inform against the possibility of offending reader sensibilities.”\u003c/p>\n\u003cp>[aside postid='arts_13916612']This is not the first time Adams’ strip has been dropped. Last year, \u003cem>The San Francisco Chronicle\u003c/em> and 76 other \u003ca href=\"https://www.lamag.com/culturefiles/dilbert-cancelled-author-says-his-comic-strip-about-cubicle-life-removed-from-77-newspapers/\">newspapers published by Lee Enterprises reportedly dropped\u003cem> Dilbert\u003c/em>\u003c/a> after Adams introduced his first Black character. Quinn noted that the move was “apparently to poke fun at ‘woke’ culture and the LGBTQ community.”\u003c/p>\n\u003cp>Quinn said other newspapers that are part of Advance Local newsrooms — in Michigan, New York, Pennsylvania, New Jersey, Massachusetts and Oregon– made the same decision to stop running the strip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Adams\u003ca href=\"https://twitter.com/ScottAdamsSays/status/1629476166561312769\"> reacted\u003c/a> to the new backlash on Twitter, saying he’d been cancelled. Nearly 18 minutes into his \u003ca href=\"https://www.youtube.com/watch?v=fYXkMieE0CA\">YouTube show Saturday\u003c/a>, he predicted, “Most of my income will be gone by next week … My reputation for the rest of my life is destroyed. You can’t come back from this, am I right?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Distributor%2C+newspapers+drop+%27Dilbert%27+comic+strip+after+creator%27s+racist+rant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The distributor of Scott Adams’ \u003cem>Dilbert\u003c/em> comic strip, Andrews McMeel Universal, announced Sunday it was severing ties with the cartoonist.\u003c/p>\n\u003cp>This came after Adams urged white people “to get the hell away from Black people” during a racist rant on his \u003ca href=\"https://www.youtube.com/watch?v=K6TnAn7qV1s\">online video program\u003c/a> last week, during which he labeled Black people a “hate group.”\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em>, \u003cem>The Los Angeles Times\u003c/em> and other newspapers across the country had already announced they would no longer carry the syndicated comic strip.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Adams opens the episode of the online program discussing the presidential bid by Republican multimillionaire entrepreneur Vivek Ramaswamy. Then, 13 minutes into the video, Adams began his screed by citing the results of a \u003ca href=\"https://www.rasmussenreports.com/public_content/lifestyle/general_lifestyle/january_2023/not_woke_yet_most_voters_reject_anti_white_beliefs\">recent public opinion poll\u003c/a> conducted by the conservative-leaning Rasmussen Reports.\u003c/p>\n\u003cp>By telephone and online, the group surveyed a thousand American adults, with this question: “Do you agree or disagree with this statement, ‘It’s OK to be white’?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The report found that 72% of the respondents agreed, including 53% who are Black. Some 26% of Black respondents disagreed, and 21% said they are “not sure.” The poll also found that 79% of all the respondents agreed with the statement “Black people can be racist too.”\u003c/p>\n\u003cp>The statement “It’s OK to be white” has been repeated on right-wing websites and in speeches. \u003ca href=\"https://www.adl.org/resources/hate-symbol/its-okay-be-white\">The Anti-Defamation League has denounced it as a hate chant\u003c/a>.\u003c/p>\n\u003cp>On his YouTube livestream program, \u003cem>Real Coffee with Scott Adams\u003c/em>, the cartoonist said the results of that poll demonstrate the country’s racial tensions “can’t be fixed.”\u003c/p>\n\u003cp>Adams previously claimed he was a \u003ca href=\"https://twitter.com/scottadamssays/status/1277411944459153408?lang=en\">victim of racism in Hollywood\u003c/a> and corporate America. He was also a vocal \u003ca href=\"https://www.wired.com/2019/11/geeks-guide-scott-adams/?fbclid=IwAR3ZuRWOCwU-eeMKgCFjt5GZtNRyFAHXMAxvUUhqVIZfmSbDktfHwVowKh0&mbid=social_facebook&utm_brand=wired&utm_medium=social&utm_social-type=owned&utm_source=facebook\">supporter of Donald Trump\u003c/a>. For three decades, he produced his comic strip \u003cem>Dilbert\u003c/em>, which satirizes office culture. According to \u003ca href=\"http://syndication.andrewsmcmeel.com/comics/dilbert/\">Andrews McMeel Syndication\u003c/a>, \u003cem>Dilbert\u003c/em> appeared in 2,000 newspapers in 65 countries and 25 languages.\u003c/p>\n\u003cp>Adams has made news for other controversial statements, including \u003ca href=\"https://web.archive.org/web/20070222235609/http://dilbertblog.typepad.com/the_dilbert_blog/2006/10/sunday_blogging.html\">questioning the accuracy of the Holocaust death toll\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On his video show last week, the 65 year old said he had been identifying as Black “because I like to be on the winning team,” and that he used to help the Black community. Adams said the results of the Rasmussen poll changed his mind.\u003c/p>\n\u003cp>“It turns out that nearly half of that team doesn’t think I’m okay to be white,” he said, adding that he would re-identify as white. “I’m going to back off from being helpful to Black America because it doesn’t seem like it pays off,” he said. “I get called a racist. That’s the only outcome. It makes no sense to help Black Americans if you’re white. It’s over. Don’t even think it’s worth trying.”\u003c/p>\n\u003cp>“I’m not saying start a war or do anything bad,” he added. “Nothing like that. I’m just saying get away. Just get away.”\u003c/p>\n\u003cp>Editor Chris Quinn, of cleveland.com/\u003cem>The Plain Dealer\u003c/em> in Cleveland, \u003ca href=\"https://www.cleveland.com/news/2023/02/we-are-dropping-the-dilbert-comic-strip-because-of-creator-scott-adams-racist-rant-letter-from-the-editor.html\">called \u003c/a>Adam’s video statement “hateful and racist.”\u003c/p>\n\u003cp>“We are not a home for those who espouse racism,” Quinn wrote. “Adams’ reprehensible statements come during Black History Month, when \u003cem>The Plain Dealer\u003c/em> has been publishing stories about the work being performed by so many to overcome the damage done by racist decisions and policy.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.oregonlive.com/opinion/2023/02/letter-from-the-editor-why-we-are-no-longer-running-the-comic-strip-dilbert.html\">letter from the editor, \u003cem>The Oregonian\u003c/em>\u003c/a>’s Therese Bottomly wrote, “Some readers will no doubt deride my decision as an example of ‘overly woke’ culture or as a knee-jerk politically correct response. What about free speech, they might ask. Isn’t this censorship? No one is taking Adams’ free speech rights away. He is free to share his abhorrent comments on YouTube and Twitter so long as those companies allow them. This also isn’t censorship; it’s editing. Editors make decisions every day about what to publish, balancing the need to inform against the possibility of offending reader sensibilities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is not the first time Adams’ strip has been dropped. Last year, \u003cem>The San Francisco Chronicle\u003c/em> and 76 other \u003ca href=\"https://www.lamag.com/culturefiles/dilbert-cancelled-author-says-his-comic-strip-about-cubicle-life-removed-from-77-newspapers/\">newspapers published by Lee Enterprises reportedly dropped\u003cem> Dilbert\u003c/em>\u003c/a> after Adams introduced his first Black character. Quinn noted that the move was “apparently to poke fun at ‘woke’ culture and the LGBTQ community.”\u003c/p>\n\u003cp>Quinn said other newspapers that are part of Advance Local newsrooms — in Michigan, New York, Pennsylvania, New Jersey, Massachusetts and Oregon– made the same decision to stop running the strip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Adams\u003ca href=\"https://twitter.com/ScottAdamsSays/status/1629476166561312769\"> reacted\u003c/a> to the new backlash on Twitter, saying he’d been cancelled. Nearly 18 minutes into his \u003ca href=\"https://www.youtube.com/watch?v=fYXkMieE0CA\">YouTube show Saturday\u003c/a>, he predicted, “Most of my income will be gone by next week … My reputation for the rest of my life is destroyed. You can’t come back from this, am I right?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Distributor%2C+newspapers+drop+%27Dilbert%27+comic+strip+after+creator%27s+racist+rant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This Tender Irish Drama Proves the Quietest Films Can Have the Most to Say",
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"content": "\u003cp>The late film critic Roger Ebert once wrote, “What moves me emotionally is more often goodness than sadness.” It’s a sentiment I’ve always shared, and I thought about it again while watching the beautifully crafted Irish drama \u003cem>The Quiet Girl\u003c/em>.\u003c/p>\n\u003cp>There’s plenty of sadness in this tender story about a withdrawn 9-year-old who spends a fateful summer with two distant relatives. But the movie, adapted from a Claire Keegan story called \u003ca href=\"https://www.npr.org/2022/11/22/1134313624/small-in-scope-claire-keegans-foster-packs-an-emotional-wallop\">\u003cem>Foster\u003c/em>\u003c/a>, doesn’t rub your nose in the character’s unhappiness. What brought me to tears more than once was the movie’s unfashionable optimism — its insistence that goodness exists, and that simple acts of decency really can be life-changing.\u003c/p>\n\u003cp>[aside postid='arts_13925466']The story is set in 1981, although given the remoteness of its rural Irish setting, it could easily be taking place decades earlier. The dialogue is subtitled, because the characters speak mostly Irish, a language we rarely hear in movies. The quiet girl of the title is named Caít, and she’s played with aching sensitivity by a gifted first-time actor named Catherine Clinch.\u003c/p>\n\u003cp>Caít is the shyest and most neglected kid in her poor farming family. Her short-tempered mother has her hands full taking care of Caít’s siblings, and her father is a gambler, a philanderer and an all-around lout. At home and at school, Caít does her best to stay under the radar. It’s no wonder that the first time we see her, the camera has to pan down to find her hiding beneath tall blades of grass.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LGWyqty2m-A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With too many mouths to feed and another baby on the way, it’s decided that Caít will spend the summer with relatives. Her mother’s older cousin, Eibhlín, and her husband, Seán, live a three-hour drive away; they’re played, wonderfully, by Carrie Crowley and Andrew Bennett. From the moment Eibhlín welcomes Caít into their house, she lavishes the girl with kindness and attention. She engages her in conversation, involves her in household chores and responds in the most loving way when Caít wets the bed on her first night.\u003c/p>\n\u003cp>Seán is gruffer with Caít at first, but he warms to her soon enough. There’s a lovely little moment when, after angrily scolding her for wandering off by herself, Seán silently leaves a cookie on the table for her — an apology extended entirely without words. In their way, Eibhlín and Seán are as reserved as Caít is, especially compared with some of their cruel, gossipy neighbors.\u003c/p>\n\u003cp>[aside postid='arts_13925311']One of the most refreshing things about \u003cem>The Quiet Girl\u003c/em> is that it doesn’t treat silence as some problem that needs to be solved. When someone criticizes Caít early on for being so quiet, Seán gently defends her, saying she “says as much as she has to say.” And yet we see how Caít gradually flourishes under her guardians’ loving attention. Clinch’s luminous performance shows us what it’s like for a child to experience real, carefree happiness for the first time, whether it’s Eibhlín offering Caít a drink of crystalline water from the well near their house or Seán pressing a little pocket money into the girl’s hands.\u003c/p>\n\u003cp>Seán and Eibhlín are clearly delighted by this temporary addition to their household, in part because it chases away some of the sorrow they’ve experienced in their own lives. The source of that sorrow isn’t made clear right away, though you’ll likely figure it out if you’re paying close attention. When the truth does come out, it’s treated with a gentle matter-of-factness that — much like the unfussy natural beauty of Kate McCullough’s cinematography — deepens our sense of immersion in these characters’ lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Quiet Girl\u003c/em> was written and directed by Colm Bairéad, an Irish filmmaker whose background is in documentaries. That may account in part for how exquisitely observed his first narrative feature is. Bairéad trusts the power of understatement, and that’s a rare thing, given how prone so many films are to noise and over-explanation. Not many movies would focus on a character as unassuming as Caít, but there’s nothing small or insignificant about her story. Sometimes, it’s the quietest movies that turn out to have the most to say.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+tender+Irish+drama+proves+the+quietest+films+can+have+the+most+to+say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late film critic Roger Ebert once wrote, “What moves me emotionally is more often goodness than sadness.” It’s a sentiment I’ve always shared, and I thought about it again while watching the beautifully crafted Irish drama \u003cem>The Quiet Girl\u003c/em>.\u003c/p>\n\u003cp>There’s plenty of sadness in this tender story about a withdrawn 9-year-old who spends a fateful summer with two distant relatives. But the movie, adapted from a Claire Keegan story called \u003ca href=\"https://www.npr.org/2022/11/22/1134313624/small-in-scope-claire-keegans-foster-packs-an-emotional-wallop\">\u003cem>Foster\u003c/em>\u003c/a>, doesn’t rub your nose in the character’s unhappiness. What brought me to tears more than once was the movie’s unfashionable optimism — its insistence that goodness exists, and that simple acts of decency really can be life-changing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story is set in 1981, although given the remoteness of its rural Irish setting, it could easily be taking place decades earlier. The dialogue is subtitled, because the characters speak mostly Irish, a language we rarely hear in movies. The quiet girl of the title is named Caít, and she’s played with aching sensitivity by a gifted first-time actor named Catherine Clinch.\u003c/p>\n\u003cp>Caít is the shyest and most neglected kid in her poor farming family. Her short-tempered mother has her hands full taking care of Caít’s siblings, and her father is a gambler, a philanderer and an all-around lout. At home and at school, Caít does her best to stay under the radar. It’s no wonder that the first time we see her, the camera has to pan down to find her hiding beneath tall blades of grass.\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/LGWyqty2m-A'\n title='//www.youtube.com/embed/LGWyqty2m-A'\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>With too many mouths to feed and another baby on the way, it’s decided that Caít will spend the summer with relatives. Her mother’s older cousin, Eibhlín, and her husband, Seán, live a three-hour drive away; they’re played, wonderfully, by Carrie Crowley and Andrew Bennett. From the moment Eibhlín welcomes Caít into their house, she lavishes the girl with kindness and attention. She engages her in conversation, involves her in household chores and responds in the most loving way when Caít wets the bed on her first night.\u003c/p>\n\u003cp>Seán is gruffer with Caít at first, but he warms to her soon enough. There’s a lovely little moment when, after angrily scolding her for wandering off by herself, Seán silently leaves a cookie on the table for her — an apology extended entirely without words. In their way, Eibhlín and Seán are as reserved as Caít is, especially compared with some of their cruel, gossipy neighbors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the most refreshing things about \u003cem>The Quiet Girl\u003c/em> is that it doesn’t treat silence as some problem that needs to be solved. When someone criticizes Caít early on for being so quiet, Seán gently defends her, saying she “says as much as she has to say.” And yet we see how Caít gradually flourishes under her guardians’ loving attention. Clinch’s luminous performance shows us what it’s like for a child to experience real, carefree happiness for the first time, whether it’s Eibhlín offering Caít a drink of crystalline water from the well near their house or Seán pressing a little pocket money into the girl’s hands.\u003c/p>\n\u003cp>Seán and Eibhlín are clearly delighted by this temporary addition to their household, in part because it chases away some of the sorrow they’ve experienced in their own lives. The source of that sorrow isn’t made clear right away, though you’ll likely figure it out if you’re paying close attention. When the truth does come out, it’s treated with a gentle matter-of-factness that — much like the unfussy natural beauty of Kate McCullough’s cinematography — deepens our sense of immersion in these characters’ lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Quiet Girl\u003c/em> was written and directed by Colm Bairéad, an Irish filmmaker whose background is in documentaries. That may account in part for how exquisitely observed his first narrative feature is. Bairéad trusts the power of understatement, and that’s a rare thing, given how prone so many films are to noise and over-explanation. Not many movies would focus on a character as unassuming as Caít, but there’s nothing small or insignificant about her story. Sometimes, it’s the quietest movies that turn out to have the most to say.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+tender+Irish+drama+proves+the+quietest+films+can+have+the+most+to+say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Senators Are Calling on the Justice Department to Look Into Ticketmaster’s Practices",
"headTitle": "Senators Are Calling on the Justice Department to Look Into Ticketmaster’s Practices | KQED",
"content": "\u003cp>Almost exactly one month after senators \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">held a hearing\u003c/a> on issues in the ticketing industry, they are calling on the U.S. Department of Justice to continue examining what they call the “anticompetitive conduct” of Ticketmaster and its parent company, Live Nation.\u003c/p>\n\u003cp>The ticketing giant came under renewed scrutiny after the \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift presale debacle\u003c/a> in November, which prompted widespread accusations of monopolistic behavior (as well as several state consumer protection investigations and a fan-led \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">antitrust lawsuit\u003c/a>).\u003c/p>\n\u003cp>[aside postid='arts_13921777']The Justice Department had \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">reportedly opened\u003c/a> an antitrust investigation into the company even before that ill-fated sale. NPR has reached out to Justice Department for comment.\u003c/p>\n\u003cp>Live Nation has acknowledged areas of improvement, especially when it comes to bots and scalpers, but has repeatedly — both in \u003ca href=\"https://www.livenationentertainment.com/2022/11/a-statement-from-live-nation-entertainment-2/\">written statements\u003c/a> and congressional testimony — denied engaging in behavior that would justify antitrust litigation or changes to its business practices.\u003c/p>\n\u003cp>On Thursday, the company issued a \u003ca href=\"https://www.livenationentertainment.com/2023/02/statement-from-live-nation-entertainment/\">new statement\u003c/a> urging people to “focus on the facts.” Live Nation has submitted “more than 35 pages of information” in recent weeks in an effort to provide context and transparency to policymakers “on the realities of the industry,” it said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>[aside postid='arts_13861791']But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Senators+are+calling+on+the+Justice+Department+to+look+into+Ticketmaster%27s+practices+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost exactly one month after senators \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">held a hearing\u003c/a> on issues in the ticketing industry, they are calling on the U.S. Department of Justice to continue examining what they call the “anticompetitive conduct” of Ticketmaster and its parent company, Live Nation.\u003c/p>\n\u003cp>The ticketing giant came under renewed scrutiny after the \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift presale debacle\u003c/a> in November, which prompted widespread accusations of monopolistic behavior (as well as several state consumer protection investigations and a fan-led \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">antitrust lawsuit\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department had \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">reportedly opened\u003c/a> an antitrust investigation into the company even before that ill-fated sale. NPR has reached out to Justice Department for comment.\u003c/p>\n\u003cp>Live Nation has acknowledged areas of improvement, especially when it comes to bots and scalpers, but has repeatedly — both in \u003ca href=\"https://www.livenationentertainment.com/2022/11/a-statement-from-live-nation-entertainment-2/\">written statements\u003c/a> and congressional testimony — denied engaging in behavior that would justify antitrust litigation or changes to its business practices.\u003c/p>\n\u003cp>On Thursday, the company issued a \u003ca href=\"https://www.livenationentertainment.com/2023/02/statement-from-live-nation-entertainment/\">new statement\u003c/a> urging people to “focus on the facts.” Live Nation has submitted “more than 35 pages of information” in recent weeks in an effort to provide context and transparency to policymakers “on the realities of the industry,” it said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Senators+are+calling+on+the+Justice+Department+to+look+into+Ticketmaster%27s+practices+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Science That Spawned Fungal Fears in HBO’s ‘The Last of Us’",
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"content": "\u003cp>The video game series that spawned the new hit HBO drama,\u003cem> The Last of Us, \u003c/em>is the zombie genre with a twist.\u003c/p>\n\u003cp>Instead of a run-of-the-mill viral pandemic or bacterial disease pushing humanity to the brink, a \u003cem>Cordyceps \u003c/em>fungus evolves to survive in human bodies in part due to climate change.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Fungal disease resulted in around 1.7 million deaths in 2021, but it was only last year that the World Health Organization published its first-ever \u003ca href=\"https://www.who.int/publications-detail-redirect/9789240060241\">list of fungal priority pathogens\u003c/a>.\u003c/p>\n\u003cp>To learn more about the science that inspired \u003cem>The Last of Us\u003c/em> and the real-life threats fungal researchers see in the ever-warming world, \u003ca href=\"https://www.npr.org/podcasts/510351/short-wave\">\u003cem>Short Wave \u003c/em>\u003c/a>co-host Aaron Scott recently sat down with \u003ca href=\"https://mgm.duke.edu/personnel/asiya-gusa\">Asiya Gusa\u003c/a>, a post-doctoral fungal researcher at Duke University.\u003c/p>\n\u003cp>As a mycologist, Gusa was excited from the first scene, “When I saw the opening few minutes, I nearly jumped off the couch and was yelling at the screen, ‘This is like what I study!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLNagvJHl3g\u003c/p>\n\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>[aside postid='arts_13923656']Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Emily’ Imagines Brontë Before ‘Wuthering Heights’",
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"content": "\u003cp>Given that there are few activities less inherently cinematic than writing, I’m surprised and heartened by how many good movies I’ve seen in recent years that have convincingly entered the lives and minds of authors. I’m thinking of \u003ca href=\"https://www.npr.org/2017/04/13/523799211/new-film-celebrates-emily-dickinsons-poetry-and-quiet-passion\">\u003cem>A Quiet Passion\u003c/em>\u003c/a>, the Emily Dickinson biopic, and \u003ca href=\"https://www.npr.org/2020/06/05/869474413/elisabeth-moss-shines-as-writer-shirley-jackson-in-this-smart-surprising-film\">\u003cem>Shirley\u003c/em>\u003c/a>, about \u003cem>The Haunting of Hill House\u003c/em> author Shirley Jackson. You don’t spend a lot of time watching these women scribbling with their quills or banging away at their typewriters, but you do get a rich sense of how their artistic sensibilities came into being.\u003c/p>\n\u003cp>The latest fine addition to this group is \u003cem>Emily\u003c/em>, which freely speculates about the life of the 19th-century English writer Emily Jane Brontë in the years before she would write her one and only novel, \u003cem>Wuthering Heights\u003c/em>. The movie takes significant liberties with what is known about Emily and her famous sisters, Charlotte and Anne, but as a non-stickler for biopic accuracy, I didn’t mind. True or false or somewhere in between, this is an engagingly detailed and emotionally truthful portrait of a family of artists. Every character and actor leaves a vivid impression.\u003c/p>\n\u003cp>[aside postid='arts_13883118']Emily is strikingly played by Emma Mackey, the French-British actor known for her work on the series \u003cem>Sex Education\u003c/em>; she was also the best thing in the recent remake of \u003cem>Death on the Nile\u003c/em>. Mackey has the kind of searing gaze that cuts right through any period-piece decorum, and that makes her perfect for the sardonic, self-amused Emily. She’s neither as sweet as her younger sister, Anne, nor as well behaved as her older sister, Charlotte, who’s memorably played by Alexandra Dowling. Charlotte is studying to be a teacher and wants Emily to do the same, mainly to please their strict clergyman father.\u003c/p>\n\u003cp>But Emily’s natural talent is for inventing stories and writing poetry, and also for speaking her mind with a boldness that leaves others unsettled. There’s a dark side to Emily, and it emerges whenever she mentions her mother’s long-ago death, something the others don’t like to talk about.\u003c/p>\n\u003cp>Of all her siblings, Emily is probably closest to her fellow-misfit brother, Branwell, an aspiring painter played by Fionn Whitehead. Their bond becomes even stronger after Branwell drops out of art school and sinks into alcoholism and opium addiction. One day, while they’re walking the Yorkshire moors, she notices three words inked on his arm: “Freedom in thought” — a creed that also becomes her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xaL90sMAzbY\u003c/p>\n\u003cp>And so \u003cem>Emily\u003c/em> tells a familiar but compelling story of a woman rebelling against the expectations of her religious and image-conscious family. In her biggest breach of convention, she falls into a torrid romance with William Weightman, the handsome young curate who assists her father in his church duties.\u003c/p>\n\u003cp>Emily and William, played by Oliver Jackson-Cohen, initially loathe each other, which makes it all the more affecting when they surrender to their passion. Their affair is clearly laying the narrative framework for the forbidden love between Catherine and Heathcliff in \u003cem>Wuthering Heights\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_32197']That idea might sound overly simplistic, especially if, like me, you chafe at the notion that great art can only emerge from direct autobiographical experience. But even if the movie plays hard and loose with the facts — some have speculated that there was a romantic connection between Anne Brontë and William Weightman — Mackey and Jackson-Cohen bring so much heat and conviction that their love story sweeps you up in its wake.\u003c/p>\n\u003cp>But as magnetic as Emily and William are together, their bond isn’t the only one of note here. I’ve rarely seen a movie this attuned to the emotional complexity of sibling relationships, especially between Charlotte and Emily, whose mutual exasperation never obscures the depths of their sisterly love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily\u003c/em> marks an excellent writing and directing debut for the actor Frances O’Connor, who’s appeared in her own share of English literary adaptations like \u003cem>Mansfield Park\u003c/em> and \u003cem>The Importance of Being Earnest\u003c/em>. Her witty but unfussy script is rife with echoes of \u003cem>Wuthering Heights\u003c/em>, which means it often plays like a ghost story. Much of the movie is set in dim, candlelit interiors, including one terrifying scene in which an innocent game among the Brontë siblings becomes a disturbing kind of séance. O’Connor keeps her camera tightly fixed on Emily even at her most anguished moments, when she seems to be teetering on the brink of madness. Maybe she is. But maybe it takes a little madness to create a work of art, including a movie as good as this one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Emily%27+imagines+Bront%C3%AB+before+%27Wuthering+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given that there are few activities less inherently cinematic than writing, I’m surprised and heartened by how many good movies I’ve seen in recent years that have convincingly entered the lives and minds of authors. I’m thinking of \u003ca href=\"https://www.npr.org/2017/04/13/523799211/new-film-celebrates-emily-dickinsons-poetry-and-quiet-passion\">\u003cem>A Quiet Passion\u003c/em>\u003c/a>, the Emily Dickinson biopic, and \u003ca href=\"https://www.npr.org/2020/06/05/869474413/elisabeth-moss-shines-as-writer-shirley-jackson-in-this-smart-surprising-film\">\u003cem>Shirley\u003c/em>\u003c/a>, about \u003cem>The Haunting of Hill House\u003c/em> author Shirley Jackson. You don’t spend a lot of time watching these women scribbling with their quills or banging away at their typewriters, but you do get a rich sense of how their artistic sensibilities came into being.\u003c/p>\n\u003cp>The latest fine addition to this group is \u003cem>Emily\u003c/em>, which freely speculates about the life of the 19th-century English writer Emily Jane Brontë in the years before she would write her one and only novel, \u003cem>Wuthering Heights\u003c/em>. The movie takes significant liberties with what is known about Emily and her famous sisters, Charlotte and Anne, but as a non-stickler for biopic accuracy, I didn’t mind. True or false or somewhere in between, this is an engagingly detailed and emotionally truthful portrait of a family of artists. Every character and actor leaves a vivid impression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Emily is strikingly played by Emma Mackey, the French-British actor known for her work on the series \u003cem>Sex Education\u003c/em>; she was also the best thing in the recent remake of \u003cem>Death on the Nile\u003c/em>. Mackey has the kind of searing gaze that cuts right through any period-piece decorum, and that makes her perfect for the sardonic, self-amused Emily. She’s neither as sweet as her younger sister, Anne, nor as well behaved as her older sister, Charlotte, who’s memorably played by Alexandra Dowling. Charlotte is studying to be a teacher and wants Emily to do the same, mainly to please their strict clergyman father.\u003c/p>\n\u003cp>But Emily’s natural talent is for inventing stories and writing poetry, and also for speaking her mind with a boldness that leaves others unsettled. There’s a dark side to Emily, and it emerges whenever she mentions her mother’s long-ago death, something the others don’t like to talk about.\u003c/p>\n\u003cp>Of all her siblings, Emily is probably closest to her fellow-misfit brother, Branwell, an aspiring painter played by Fionn Whitehead. Their bond becomes even stronger after Branwell drops out of art school and sinks into alcoholism and opium addiction. One day, while they’re walking the Yorkshire moors, she notices three words inked on his arm: “Freedom in thought” — a creed that also becomes her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That idea might sound overly simplistic, especially if, like me, you chafe at the notion that great art can only emerge from direct autobiographical experience. But even if the movie plays hard and loose with the facts — some have speculated that there was a romantic connection between Anne Brontë and William Weightman — Mackey and Jackson-Cohen bring so much heat and conviction that their love story sweeps you up in its wake.\u003c/p>\n\u003cp>But as magnetic as Emily and William are together, their bond isn’t the only one of note here. I’ve rarely seen a movie this attuned to the emotional complexity of sibling relationships, especially between Charlotte and Emily, whose mutual exasperation never obscures the depths of their sisterly love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily\u003c/em> marks an excellent writing and directing debut for the actor Frances O’Connor, who’s appeared in her own share of English literary adaptations like \u003cem>Mansfield Park\u003c/em> and \u003cem>The Importance of Being Earnest\u003c/em>. Her witty but unfussy script is rife with echoes of \u003cem>Wuthering Heights\u003c/em>, which means it often plays like a ghost story. Much of the movie is set in dim, candlelit interiors, including one terrifying scene in which an innocent game among the Brontë siblings becomes a disturbing kind of séance. O’Connor keeps her camera tightly fixed on Emily even at her most anguished moments, when she seems to be teetering on the brink of madness. Maybe she is. But maybe it takes a little madness to create a work of art, including a movie as good as this one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Emily%27+imagines+Bront%C3%AB+before+%27Wuthering+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Raquel Welch, a veteran actress who rose to fame as a sex symbol in the 1960s and 70s, \u003ca href=\"https://www.npr.org/2023/02/15/1157263420/raquel-welch-actress-and-hollywood-sex-symbol-dead-at-82\">died Wednesday in Los Angeles at the age of 82\u003c/a> after a brief illness. The news was confirmed to NPR by her son, Damon.\u003c/p>\n\u003cp>[aside postid='arts_10870518']In a career spanning nearly six decades, Welch started in the 1960s with appearances on TV shows such as \u003cem>The Virginian\u003c/em>, \u003cem>McHale’s Navy\u003c/em> and \u003cem>Bewitched.\u003c/em> These appearances paved the way for back-to-back roles in \u003cem>Fantastic Voyage\u003c/em> and \u003cem>One Million Years B.C.\u003c/em> in 1966.\u003c/p>\n\u003cp>Throughout her career, Welch was a two-time Golden Globe nominee, winning Best Actress in a Motion Picture, Musical or Comedy, for her role in the 1973’s \u003cem>The Three Musketeers\u003c/em> as Constance de Bonacieux, and a star on the Hollywood Walk of Fame.\u003c/p>\n\u003cp>Here’s a look at some of her most notable roles:\u003c/p>\n\u003ch3>\u003cem>1. One Million Years B.C. (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gSYmJur0Npw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ssLVKLJ8ojU&t=1s\u003c/p>\n\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=dO5E4wkg0hA&t=1s\u003c/p>\n\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=lmIeod8jk4k\u003c/p>\n\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ywcr3lYuVo0\u003c/p>\n\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=3IHiUYU4wQ8\u003c/p>\n\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a career spanning nearly six decades, Welch started in the 1960s with appearances on TV shows such as \u003cem>The Virginian\u003c/em>, \u003cem>McHale’s Navy\u003c/em> and \u003cem>Bewitched.\u003c/em> These appearances paved the way for back-to-back roles in \u003cem>Fantastic Voyage\u003c/em> and \u003cem>One Million Years B.C.\u003c/em> in 1966.\u003c/p>\n\u003cp>Throughout her career, Welch was a two-time Golden Globe nominee, winning Best Actress in a Motion Picture, Musical or Comedy, for her role in the 1973’s \u003cem>The Three Musketeers\u003c/em> as Constance de Bonacieux, and a star on the Hollywood Walk of Fame.\u003c/p>\n\u003cp>Here’s a look at some of her most notable roles:\u003c/p>\n\u003ch3>\u003cem>1. One Million Years B.C. (1966)\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gSYmJur0Npw'\n title='//www.youtube.com/embed/gSYmJur0Npw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ssLVKLJ8ojU'\n title='//www.youtube.com/embed/ssLVKLJ8ojU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dO5E4wkg0hA'\n title='//www.youtube.com/embed/dO5E4wkg0hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lmIeod8jk4k'\n title='//www.youtube.com/embed/lmIeod8jk4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ywcr3lYuVo0'\n title='//www.youtube.com/embed/ywcr3lYuVo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3IHiUYU4wQ8'\n title='//www.youtube.com/embed/3IHiUYU4wQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Valentine’s Day Message From Banksy Comments on Violence Against Women",
"headTitle": "A Valentine’s Day Message From Banksy Comments on Violence Against Women | KQED",
"content": "\u003cp>At first glance, she could be a prototypical 1950s housewife, wearing an apron over a smart gingham dress, complete with yellow cleaning gloves. But this is a Banksy artwork on the side of a building we’re talking about, and the woman is pushing a freezer door closed — and a man’s legs are jutting out the other end.\u003c/p>\n\u003cp>The woman is also hurt. She appears to be missing a tooth, and an eye is swollen shut. And that’s where the title comes in: “Valentine’s Day mascara,” according to a \u003ca href=\"https://www.instagram.com/p/Coom0LDsfJf/?hl=en\">post to Banksy’s Instagram account\u003c/a> on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13898181']The most-liked reply to Banksy’s post reads: “Fighting violence used against women. Even on Valentines Day. Always!”\u003c/p>\n\u003cp>The artwork appeared in Margate, a city in southeastern England, becoming the latest locale for a graffiti installation by one of the world’s most famous living artists. It reportedly appeared on Monday; one day later, the local government removed the freezer that was a key part of the tableau, citing safety concerns.\u003c/p>\n\u003cp>But now the appliance “has been returned to its original position,” the \u003ca href=\"https://www.thanet.gov.uk/update-on-the-banksy-freezer/\">Thanet District Council said\u003c/a> on Wednesday, stating that the appliance “has now been made safe.” It did not provide details, saying only that work was done on the freezer “for health and safety reasons.”\u003c/p>\n\u003cfigure id=\"attachment_13925196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers remove a chest freezer that was part of an artwork by street artist Banksy, along the side of a house. \u003ccite>(WILLIAM EDWARDS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Banksy raises the important issue of domestic abuse in this artwork,” the council said. “We are in touch with the owner of the property to understand their intentions around the preservation of the piece and to secure the best possible outcome for the local community and victims of domestic abuse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The work incorporates an actual freezer and a toppled chair, following Banksy’s tradition of mixing everyday items with paint and other media. As word of the artwork spread, people flocked to snap photos of themselves posing alongside the woman — resilient, triumphant and injured.\u003c/p>\n\u003cp>Then the freezer was taken away, leaving a void.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thanet.gov.uk/council-confirms-situation-regarding-banksy-artwork-in-margate/\">Thanet District Council said\u003c/a> on Tuesday that while the graffiti art is a genuine Banksy, and it was on the wall of a privately owned property, the chest freezer was “removed by council operatives on the grounds of safety as it was on public land.”\u003c/p>\n\u003cp>The council said it had placed the freezer in storage, adding that it would be returned “once it has been made safe to the public.”\u003c/p>\n\u003cp>[aside postid='arts_13883386']Some local residents mocked the council for invoking the need to keep public spaces tidy as a rationale for taking the art work apart.\u003c/p>\n\u003cp>“The council saying it was removed for safety reason is a bit short sided, considering that there is a side road next to the Banksy with a pile of rubbish and wood full of nails,” resident Davide Restifo \u003ca href=\"https://theisleofthanetnews.com/2023/02/14/thanet-council-says-freezer-will-be-returned-to-site-of-banksy-art-work-in-margate/\">told \u003cem>The Isle of Thanet News\u003c/em>\u003c/a>, submitting a photo of unsightly debris to prove his point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know is experiencing domestic abuse, use a safe computer and \u003c/em>\u003ca href=\"https://www.thehotline.org/help/\">\u003cem>contact help\u003c/em>\u003c/a>\u003cem>. You can also visit a local shelter, or call 911 or the National Domestic Violence Hotline at 1-800-799-7233.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Valentine%27s+Day+message+from+Banksy+comments+on+violence+against+women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "A Valentine’s Day Message From Banksy Comments on Violence Against Women",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, she could be a prototypical 1950s housewife, wearing an apron over a smart gingham dress, complete with yellow cleaning gloves. But this is a Banksy artwork on the side of a building we’re talking about, and the woman is pushing a freezer door closed — and a man’s legs are jutting out the other end.\u003c/p>\n\u003cp>The woman is also hurt. She appears to be missing a tooth, and an eye is swollen shut. And that’s where the title comes in: “Valentine’s Day mascara,” according to a \u003ca href=\"https://www.instagram.com/p/Coom0LDsfJf/?hl=en\">post to Banksy’s Instagram account\u003c/a> on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The most-liked reply to Banksy’s post reads: “Fighting violence used against women. Even on Valentines Day. Always!”\u003c/p>\n\u003cp>The artwork appeared in Margate, a city in southeastern England, becoming the latest locale for a graffiti installation by one of the world’s most famous living artists. It reportedly appeared on Monday; one day later, the local government removed the freezer that was a key part of the tableau, citing safety concerns.\u003c/p>\n\u003cp>But now the appliance “has been returned to its original position,” the \u003ca href=\"https://www.thanet.gov.uk/update-on-the-banksy-freezer/\">Thanet District Council said\u003c/a> on Wednesday, stating that the appliance “has now been made safe.” It did not provide details, saying only that work was done on the freezer “for health and safety reasons.”\u003c/p>\n\u003cfigure id=\"attachment_13925196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers remove a chest freezer that was part of an artwork by street artist Banksy, along the side of a house. \u003ccite>(WILLIAM EDWARDS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Banksy raises the important issue of domestic abuse in this artwork,” the council said. “We are in touch with the owner of the property to understand their intentions around the preservation of the piece and to secure the best possible outcome for the local community and victims of domestic abuse.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The work incorporates an actual freezer and a toppled chair, following Banksy’s tradition of mixing everyday items with paint and other media. As word of the artwork spread, people flocked to snap photos of themselves posing alongside the woman — resilient, triumphant and injured.\u003c/p>\n\u003cp>Then the freezer was taken away, leaving a void.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thanet.gov.uk/council-confirms-situation-regarding-banksy-artwork-in-margate/\">Thanet District Council said\u003c/a> on Tuesday that while the graffiti art is a genuine Banksy, and it was on the wall of a privately owned property, the chest freezer was “removed by council operatives on the grounds of safety as it was on public land.”\u003c/p>\n\u003cp>The council said it had placed the freezer in storage, adding that it would be returned “once it has been made safe to the public.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some local residents mocked the council for invoking the need to keep public spaces tidy as a rationale for taking the art work apart.\u003c/p>\n\u003cp>“The council saying it was removed for safety reason is a bit short sided, considering that there is a side road next to the Banksy with a pile of rubbish and wood full of nails,” resident Davide Restifo \u003ca href=\"https://theisleofthanetnews.com/2023/02/14/thanet-council-says-freezer-will-be-returned-to-site-of-banksy-art-work-in-margate/\">told \u003cem>The Isle of Thanet News\u003c/em>\u003c/a>, submitting a photo of unsightly debris to prove his point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know is experiencing domestic abuse, use a safe computer and \u003c/em>\u003ca href=\"https://www.thehotline.org/help/\">\u003cem>contact help\u003c/em>\u003c/a>\u003cem>. You can also visit a local shelter, or call 911 or the National Domestic Violence Hotline at 1-800-799-7233.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Valentine%27s+Day+message+from+Banksy+comments+on+violence+against+women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"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.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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