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"title": "Who is Andrew Tate? Your Guide to the Self-Styled Misogynist Influencer",
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"content": "\u003cp>Sports cars, a pizza box, Greta Thunberg, Romania, sex-trafficking and a highly controversial internet celebrity. If you’ve heard someone talking about any of these things this week, chances are you also wanted to ask them: Who, exactly, is Andrew Tate?\u003c/p>\n\u003cp>The man at the center of it all has long been a magnet for such a question. He’s been described as \u003ca href=\"https://www.thedailybeast.com/police-raid-maga-king-of-toxic-masculinity-in-human-trafficking-investigation\">the “King of Toxic Masculinity,”\u003c/a> one of the “\u003ca href=\"https://news.sky.com/story/who-is-andrew-tate-self-styled-king-of-toxic-masculinity-and-butt-of-greta-thunbergs-jokes-12776832\">internet’s most controversial figures\u003c/a>” and “\u003ca href=\"https://www.newsweek.com/everything-we-know-about-top-g-andrew-tate-his-brother-tristan-1770414\">the Top G\u003c/a>.”\u003c/p>\n\u003cp>And in the latest news, \u003ca href=\"https://www.reuters.com/world/romania-detains-ex-kickboxer-andrew-tate-human-trafficking-case-2022-12-30/\">Reuters\u003c/a> and \u003ca href=\"https://www.libertatea.ro/stiri/surse-perchezitii-diicot-tristan-tate-andrew-tate-sechestrare-fete-tristan-tate-bianca-dragusanu-4394856/amp\">Romanian media outlets\u003c/a> say he’s been arrested on charges of human trafficking, rape and forming an organized crime group.\u003c/p>\n\u003cp>Let’s dig into it.\u003c/p>\n\u003ch3>First, here’s a quick overview of Tate’s rise to fame\u003c/h3>\n\u003cp>Tate, a British citizen born in the U.S., first became an international name through his career as a kickboxer, \u003ca href=\"https://cobratate.com/bio\">winning several world titles\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2016, he tried his hand at reality TV, but \u003ca href=\"https://www.indy100.com/viral/andrew-tate-fight-big-brother-2659042456\">was kicked off the British version of \u003cem>Big Brother\u003c/em>\u003c/a> over a video of him hitting a woman with a belt. Tate said the video was a “total lie” that had been edited to make him look bad.\u003c/p>\n\u003cp>On social media, Tate became a vocal supporter of former President Trump and was \u003ca href=\"https://www.thedailybeast.com/police-raid-maga-king-of-toxic-masculinity-in-human-trafficking-investigation\">spotted around Washington, D.C., \u003c/a>with prominent conspiracy theorists and on right-wing talk shows like Infowars.\u003c/p>\n\u003cp>After styling himself as a self-help influencer for men, he was banned from Twitter in 2017 for saying women should bear responsibility for being sexually assaulted. His Twitter account was reinstated this November after Elon Musk took ownership of the platform.\u003c/p>\n\u003cp>At various points, Tate \u003ca href=\"https://www.npr.org/2022/08/20/1118624860/andrew-tate-facebook-instagram-banned\">has been banned\u003c/a> from YouTube, Facebook, Instagram and TikTok for similarly misogynistic remarks.\u003c/p>\n\u003cp>[aside postid='arts_13912473']Tate has said women belong in the home, shouldn’t be allowed to drive a car and are man’s property. He’s said he prefers to date 18- and 19-year-old women because they’re more impressionable.\u003c/p>\n\u003cp>These days, Tate claims to be making millions and \u003ca href=\"https://www.buzzfeednews.com/article/ikrd/andrew-tate-hustlers-university\">peddling his life philosophy\u003c/a> to thousands through an online course and community called “Hustlers University.”\u003c/p>\n\u003cp>For $49 a month, anyone can earn thousands per month through skills like copywriting and buying NFTs plus recruiting others to the community for a commission fee. \u003ca href=\"https://www.hustlerslearn.com/\">An ad for the course\u003c/a> claims that Hustlers University has over 168,000 active students, some as young as 13.\u003c/p>\n\u003cp>His polemic style is particularly popular among Gen Zers. One survey conducted by the investment bank Piper Sandler this fall \u003ca href=\"https://www.pipersandler.com/sites/default/files/document/TSWT_Fall22_Infographic.pdf\">found that Tate ranked as the favorite influencer\u003c/a> among those under 18.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/technology/2022/aug/06/andrew-tate-violent-misogynistic-world-of-tiktok-new-star\">An investigation from \u003cem>The Guardian\u003c/em>\u003c/a> discovered that hundreds of Hustler University members repackage Tate clips on platforms like TikTok every day.\u003c/p>\n\u003cp>This summer, while he was banned from top platforms, \u003ca href=\"https://trends.google.com/trends/explore?geo=US&q=Andrew%20Tate,Donald%20Trump,Kim%20Kardashian\">his name was searched more frequently\u003c/a> than Donald Trump’s or Kim Kardashian’s.\u003c/p>\n\u003ch3>Why is everyone talking about Tate now?\u003c/h3>\n\u003cp>Tate and his brother, Tristan, were reportedly detained in Romania late Thursday evening on charges of human trafficking and rape.\u003c/p>\n\u003cp>\u003ca href=\"https://www.diicot.ro/mass-media/3829-comunicat-de-presa-29-12-2022\">Romania’s anti-organized crime agency released a statement \u003c/a>saying four suspects — two British citizens and two Romanians — had recruited women into their scheme, then sexually exploited them by forcing them to perform in pornography with the intention of financial gain.\u003c/p>\n\u003cp>[aside postid='arts_13886833']The statement didn’t name Tate directly, though an accompanying video of the arrest appeared to show Tate, who is British, being led away in handcuffs. Romanian authorities and spokespeople for Tate have not responded to NPR’s requests for confirmation.\u003c/p>\n\u003cp>Romanian media reports \u003ca href=\"https://www.libertatea.ro/stiri/surse-perchezitii-diicot-tristan-tate-andrew-tate-sechestrare-fete-tristan-tate-bianca-dragusanu-4394856/amp\">said Tate had been detained for questioning\u003c/a>, and Reuters reported that it had confirmed the incident with Tate’s lawyer.\u003c/p>\n\u003ch3>OK, so what does Greta Thunberg have to do with it?\u003c/h3>\n\u003cp>Tate had already been in the public eye this week after picking a seemingly random Twitter fight with Thunberg, the 19-year-old climate activist.\u003c/p>\n\u003cp>On Tuesday, he posted a photo of himself standing next to a Bugatti, captioned by the text, “Hello @GretaThunberg. I have 33 cars. […] Please provide your email address so I can send a complete list of my car collection and their respective enormous emissions.”\u003c/p>\n\u003cp>The next day she tweeted back, “Yes, please do enlighten me. Email me at smalldickenergy@getalife.com.” More than 3 million users liked the post.\u003c/p>\n\u003cp>Tate then \u003ca href=\"https://twitter.com/Cobratate/status/1608212791009374208\">posted a video of himself seated in a paneled room\u003c/a>, wearing a Versace robe, smoking a cigar, describing Thunberg as a bitter “slave of the matrix” who’s trying to “convince you to beg your government to tax you into poverty to stop the sun from being hot.”\u003c/p>\n\u003cp>[aside postid='arts_13887488']Midway through the video, he gestures off camera, asking someone to bring him pizza. “Make sure that these boxes are not recycled,” he quips as he sets the two pie-carrying parcels down on the table so the blue and red branding of “Jerry’s Pizza” is clearly visible to the camera.\u003c/p>\n\u003cp>When the video of his alleged arrest began circling, \u003ca href=\"https://twitter.com/Esqueer_/status/1608709173684105217\">some local and international journalists\u003c/a> said that the boxes, which came from a local Romanian pie joint, were just the proof local authorities needed to confirm Tate was in the country.\u003c/p>\n\u003cp>Several have since walked back that claim, saying they merely made an assumption. Romanian authorities haven’t responded to NPR’s request for more information.\u003c/p>\n\u003cp>But that uncertainty didn’t stop Thunberg herself from weighing in.\u003c/p>\n\u003cp>“This is what happens when you don’t recycle your pizza boxes,” she tweeted.\u003c/p>\n\u003ch3>What happens next for Tate?\u003c/h3>\n\u003cp>Tate, who moved to Romania five years ago, \u003ca href=\"https://www.youtube.com/watch?v=gCuBlCF5-p0\">said in a YouTube video\u003c/a> that “40%” of his motivation for moving was because the police were less likely to look into sexual assault allegations.\u003c/p>\n\u003cp>[aside postid='arts_13844829']\u003ca href=\"https://www.gandul.ro/actualitate/anchetatorii-au-descins-in-casa-din-pipera-a-luptatorului-tristan-tate-fost-iubit-al-biancai-dragusanu-ar-fi-sechetrat-o-femeie-alaturi-de-fratele-sau-19775283?utm_source=video_homepage&utm_medium=clicks_video&utm_campaign=video\">Local media report\u003c/a>s confirmed by various U.S. outlets claim that Romanian police raided Tate’s Romanian residence once earlier, on April 11, after claims that an American woman was being held captive at the house.\u003c/p>\n\u003cp>In their statement about the latest raids, Romanian authorities said the suspects would be detained for 24 hours for questioning.\u003c/p>\n\u003cp>On Friday morning, Tate appeared to tweet about the incident, using a reference to \u003cem>The Matrix\u003c/em> that’s become a signature of his Hustlers University philosophy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/romania-crime-bucharest-organized-human-trafficking-0b65ac32442d995e590ab70c221398a1\">The Associated Press reported a Bucharest judge extended Tate’s arrest warrant by 30 days\u003c/a>. He’ll be held in detention while authorities investigate, but the decision could be appealed at anytime, said a spokesperson for the Romanian anti-crime agency.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+is+Andrew+Tate%3F+Your+guide+to+the+self-styled+misogynist+influencer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sports cars, a pizza box, Greta Thunberg, Romania, sex-trafficking and a highly controversial internet celebrity. If you’ve heard someone talking about any of these things this week, chances are you also wanted to ask them: Who, exactly, is Andrew Tate?\u003c/p>\n\u003cp>The man at the center of it all has long been a magnet for such a question. He’s been described as \u003ca href=\"https://www.thedailybeast.com/police-raid-maga-king-of-toxic-masculinity-in-human-trafficking-investigation\">the “King of Toxic Masculinity,”\u003c/a> one of the “\u003ca href=\"https://news.sky.com/story/who-is-andrew-tate-self-styled-king-of-toxic-masculinity-and-butt-of-greta-thunbergs-jokes-12776832\">internet’s most controversial figures\u003c/a>” and “\u003ca href=\"https://www.newsweek.com/everything-we-know-about-top-g-andrew-tate-his-brother-tristan-1770414\">the Top G\u003c/a>.”\u003c/p>\n\u003cp>And in the latest news, \u003ca href=\"https://www.reuters.com/world/romania-detains-ex-kickboxer-andrew-tate-human-trafficking-case-2022-12-30/\">Reuters\u003c/a> and \u003ca href=\"https://www.libertatea.ro/stiri/surse-perchezitii-diicot-tristan-tate-andrew-tate-sechestrare-fete-tristan-tate-bianca-dragusanu-4394856/amp\">Romanian media outlets\u003c/a> say he’s been arrested on charges of human trafficking, rape and forming an organized crime group.\u003c/p>\n\u003cp>Let’s dig into it.\u003c/p>\n\u003ch3>First, here’s a quick overview of Tate’s rise to fame\u003c/h3>\n\u003cp>Tate, a British citizen born in the U.S., first became an international name through his career as a kickboxer, \u003ca href=\"https://cobratate.com/bio\">winning several world titles\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2016, he tried his hand at reality TV, but \u003ca href=\"https://www.indy100.com/viral/andrew-tate-fight-big-brother-2659042456\">was kicked off the British version of \u003cem>Big Brother\u003c/em>\u003c/a> over a video of him hitting a woman with a belt. Tate said the video was a “total lie” that had been edited to make him look bad.\u003c/p>\n\u003cp>On social media, Tate became a vocal supporter of former President Trump and was \u003ca href=\"https://www.thedailybeast.com/police-raid-maga-king-of-toxic-masculinity-in-human-trafficking-investigation\">spotted around Washington, D.C., \u003c/a>with prominent conspiracy theorists and on right-wing talk shows like Infowars.\u003c/p>\n\u003cp>After styling himself as a self-help influencer for men, he was banned from Twitter in 2017 for saying women should bear responsibility for being sexually assaulted. His Twitter account was reinstated this November after Elon Musk took ownership of the platform.\u003c/p>\n\u003cp>At various points, Tate \u003ca href=\"https://www.npr.org/2022/08/20/1118624860/andrew-tate-facebook-instagram-banned\">has been banned\u003c/a> from YouTube, Facebook, Instagram and TikTok for similarly misogynistic remarks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tate has said women belong in the home, shouldn’t be allowed to drive a car and are man’s property. He’s said he prefers to date 18- and 19-year-old women because they’re more impressionable.\u003c/p>\n\u003cp>These days, Tate claims to be making millions and \u003ca href=\"https://www.buzzfeednews.com/article/ikrd/andrew-tate-hustlers-university\">peddling his life philosophy\u003c/a> to thousands through an online course and community called “Hustlers University.”\u003c/p>\n\u003cp>For $49 a month, anyone can earn thousands per month through skills like copywriting and buying NFTs plus recruiting others to the community for a commission fee. \u003ca href=\"https://www.hustlerslearn.com/\">An ad for the course\u003c/a> claims that Hustlers University has over 168,000 active students, some as young as 13.\u003c/p>\n\u003cp>His polemic style is particularly popular among Gen Zers. One survey conducted by the investment bank Piper Sandler this fall \u003ca href=\"https://www.pipersandler.com/sites/default/files/document/TSWT_Fall22_Infographic.pdf\">found that Tate ranked as the favorite influencer\u003c/a> among those under 18.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/technology/2022/aug/06/andrew-tate-violent-misogynistic-world-of-tiktok-new-star\">An investigation from \u003cem>The Guardian\u003c/em>\u003c/a> discovered that hundreds of Hustler University members repackage Tate clips on platforms like TikTok every day.\u003c/p>\n\u003cp>This summer, while he was banned from top platforms, \u003ca href=\"https://trends.google.com/trends/explore?geo=US&q=Andrew%20Tate,Donald%20Trump,Kim%20Kardashian\">his name was searched more frequently\u003c/a> than Donald Trump’s or Kim Kardashian’s.\u003c/p>\n\u003ch3>Why is everyone talking about Tate now?\u003c/h3>\n\u003cp>Tate and his brother, Tristan, were reportedly detained in Romania late Thursday evening on charges of human trafficking and rape.\u003c/p>\n\u003cp>\u003ca href=\"https://www.diicot.ro/mass-media/3829-comunicat-de-presa-29-12-2022\">Romania’s anti-organized crime agency released a statement \u003c/a>saying four suspects — two British citizens and two Romanians — had recruited women into their scheme, then sexually exploited them by forcing them to perform in pornography with the intention of financial gain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The statement didn’t name Tate directly, though an accompanying video of the arrest appeared to show Tate, who is British, being led away in handcuffs. Romanian authorities and spokespeople for Tate have not responded to NPR’s requests for confirmation.\u003c/p>\n\u003cp>Romanian media reports \u003ca href=\"https://www.libertatea.ro/stiri/surse-perchezitii-diicot-tristan-tate-andrew-tate-sechestrare-fete-tristan-tate-bianca-dragusanu-4394856/amp\">said Tate had been detained for questioning\u003c/a>, and Reuters reported that it had confirmed the incident with Tate’s lawyer.\u003c/p>\n\u003ch3>OK, so what does Greta Thunberg have to do with it?\u003c/h3>\n\u003cp>Tate had already been in the public eye this week after picking a seemingly random Twitter fight with Thunberg, the 19-year-old climate activist.\u003c/p>\n\u003cp>On Tuesday, he posted a photo of himself standing next to a Bugatti, captioned by the text, “Hello @GretaThunberg. I have 33 cars. […] Please provide your email address so I can send a complete list of my car collection and their respective enormous emissions.”\u003c/p>\n\u003cp>The next day she tweeted back, “Yes, please do enlighten me. Email me at smalldickenergy@getalife.com.” More than 3 million users liked the post.\u003c/p>\n\u003cp>Tate then \u003ca href=\"https://twitter.com/Cobratate/status/1608212791009374208\">posted a video of himself seated in a paneled room\u003c/a>, wearing a Versace robe, smoking a cigar, describing Thunberg as a bitter “slave of the matrix” who’s trying to “convince you to beg your government to tax you into poverty to stop the sun from being hot.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Midway through the video, he gestures off camera, asking someone to bring him pizza. “Make sure that these boxes are not recycled,” he quips as he sets the two pie-carrying parcels down on the table so the blue and red branding of “Jerry’s Pizza” is clearly visible to the camera.\u003c/p>\n\u003cp>When the video of his alleged arrest began circling, \u003ca href=\"https://twitter.com/Esqueer_/status/1608709173684105217\">some local and international journalists\u003c/a> said that the boxes, which came from a local Romanian pie joint, were just the proof local authorities needed to confirm Tate was in the country.\u003c/p>\n\u003cp>Several have since walked back that claim, saying they merely made an assumption. Romanian authorities haven’t responded to NPR’s request for more information.\u003c/p>\n\u003cp>But that uncertainty didn’t stop Thunberg herself from weighing in.\u003c/p>\n\u003cp>“This is what happens when you don’t recycle your pizza boxes,” she tweeted.\u003c/p>\n\u003ch3>What happens next for Tate?\u003c/h3>\n\u003cp>Tate, who moved to Romania five years ago, \u003ca href=\"https://www.youtube.com/watch?v=gCuBlCF5-p0\">said in a YouTube video\u003c/a> that “40%” of his motivation for moving was because the police were less likely to look into sexual assault allegations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.gandul.ro/actualitate/anchetatorii-au-descins-in-casa-din-pipera-a-luptatorului-tristan-tate-fost-iubit-al-biancai-dragusanu-ar-fi-sechetrat-o-femeie-alaturi-de-fratele-sau-19775283?utm_source=video_homepage&utm_medium=clicks_video&utm_campaign=video\">Local media report\u003c/a>s confirmed by various U.S. outlets claim that Romanian police raided Tate’s Romanian residence once earlier, on April 11, after claims that an American woman was being held captive at the house.\u003c/p>\n\u003cp>In their statement about the latest raids, Romanian authorities said the suspects would be detained for 24 hours for questioning.\u003c/p>\n\u003cp>On Friday morning, Tate appeared to tweet about the incident, using a reference to \u003cem>The Matrix\u003c/em> that’s become a signature of his Hustlers University philosophy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/romania-crime-bucharest-organized-human-trafficking-0b65ac32442d995e590ab70c221398a1\">The Associated Press reported a Bucharest judge extended Tate’s arrest warrant by 30 days\u003c/a>. He’ll be held in detention while authorities investigate, but the decision could be appealed at anytime, said a spokesperson for the Romanian anti-crime agency.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+is+Andrew+Tate%3F+Your+guide+to+the+self-styled+misogynist+influencer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2022 Was a Big Year For Dance Books: Here Are 5 to Check Out",
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"content": "\u003cp>It’s not often you find whole sections of bookstores or libraries devoted to books on dance. But this doesn’t mean that there’s a shortage of good books on the topic — especially this year.\u003c/p>\n\u003cp>2022 was particularly prosperous for books about ballet, with many notable memoirs, biographies, and works of fiction making their debuts. So, we’re taking a moment to highlight some of those. Our selection of titles sheds light not only on some of the form’s most iconic figures, but also provides a glimpse into the state of ballet culture today — and the direction it will be heading next year and for years to come.\u003c/p>\n\u003ch3>\u003cem>The Wind at My Back\u003c/em>\u003c/h3>\n\u003cp>[aside postid='arts_11295559']When all eyes were on Misty Copeland in advance of her promotion to principal dancer at American Ballet Theatre — which made her the first Black woman to achieve the highest rank in the iconic company — audiences saw an inspirational woman, a beautiful dancer, and a watershed event for the overwhelmingly white art form. What they didn’t see however, were Copeland’s private struggles with imposter syndrome, internalized trauma, and the still present systemic racism in the ballet world.\u003c/p>\n\u003cp>In her latest book, Copeland (writing with with Susan Fales-Hill) candidly recounts these experiences with the same grace and strength that imbue her dancing, all while paying homage to her mentor, Raven Wilkinson, and the many other Black ballerinas that laid the foundation for Copeland to soar. Part memoir, part tribute to the late Wilkinson, who toured the country with the Ballet Russe de Monte-Carlo during the height of the Civil Rights Movement, \u003cem>The Wind at My Back\u003c/em> chronicles Copeland’s relationship with her mentor, draws parallels between their paths in dance, and ends with a call to action. Through Wilkinson, Copeland taps into her deeper purpose of being a role model for other ballet dancers of color, and her words tell readers exactly what it will take to continue to move the form forward and ensure bright futures for these young artists.\u003c/p>\n\u003ch3>\u003cem>They’re Going to Love You\u003c/em>\u003c/h3>\n\u003cp>In this novel by Meg Howrey, Carlisle Martin — born to a ballerina mother and a balletomane father — dreams of dancing with the New York City Ballet. After her parent’s separation, the NYC home her father shares with his partner, James, becomes a place of wonder — and someplace she wants to belong, but doesn’t quite feel at home. After her above-average height dashes her hopes of ballet stardom, and a betrayal estranges her from her father and James, Carlisle charts her own path, moves to Los Angeles, and starts her career as a choreographer. When she receives the news that her father is dying, she is forced to reckon with her past, all while preparing for the biggest commission of her career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>They’re Going to Love You\u003c/em> oscillates between present-day reflections and flashbacks to Carlisle’s life as an adolescent and young adult, ultimately emerging as a beautiful and relatable portrait of a woman, her regrets, and her successes. As Howrey unflinchingly and honestly dives into the intricacies of relationships and the inevitable growing pains that come with life, she also mines her history as a ballet dancer to deliver an honest portrayal of the dance world, the realities of working artists, and the obstacles facing female choreographers, revealing real-world truths through a fictional setting.\u003c/p>\n\u003ch3>\u003cem>La Nijinska \u003c/em>\u003c/h3>\n\u003cp>[aside postid='arts_13920190']Most balletomanes are familiar with Vaslav Nijinsky, the famous 20th-century dancer and choreographer who was widely hailed for his virtuosity and who made waves with his original works. Fewer though, are intimately familiar with his sister, Bronislava Nijinska, despite the fact that, as author and dance historian Lynn Garafola asserts, her myriad contributions far outweighed Nijinsky’s comparatively brief foray into the limelight.\u003c/p>\n\u003cp>\u003cem>La Nijinska \u003c/em>is the first biography written about the female choreographer, who created nearly 80 original ballets and was a guiding force for the development of 20th-century modernism. The book mines interviews, archival reviews, reflections of the dancers who worked with Nijinska, and the choreographer’s own letters and diaries to paint a picture of the prolific dancemaker. Nijinska is wholly deserving of the nearly 500-page opus, which, given today’s movement to foster and support women choreographers, comes at just the right time.\u003c/p>\n\u003ch3>\u003cem>Three Muses\u003c/em>\u003c/h3>\n\u003cp>Author Martha Anne Toll’s first novel uses a post-WWII ballet world as the backdrop to weave an intimate portrait of romance and heartbreak. \u003cem>Three Muses \u003c/em>follows prima ballerina Katya Symanova, who is immersed in an abusive yet creatively generative relationship with choreographer Boris Yanakov, as she meets and falls in love with John Curtin, a young psychiatrist and Holocaust survivor.\u003c/p>\n\u003cp>Toll’s novel is not only notable for its poignant prose, clever foreshadowing, and deeply moving ending, it also comments on many of the harsher truths present in the ballet world, acknowledging the reality without glamorizing it. The author, a freelance book critic who has written reviews for NPR, not only uses a true-to-life version of the 1950s dance world as her stage, she uses choreography as a key element of the plot, with the dances she creates for her characters perfectly echoing their inner lives.\u003c/p>\n\u003ch3>\u003cem>Serenade\u003c/em>\u003c/h3>\n\u003cp>[aside postid='arts_13909322']In the ballet world, George Balanchine, the co-founder of the New York City Ballet, has almost been raised to superhuman status. His signature modern, plotless approach to dancemaking is still widely lauded, his choreography is performed by some of the most successful dancers and companies, and words like “legend,” “icon” and “seminal” are often used to describe him. Hearing about Balanchine from someone who actually knew him and danced for him — like author Toni Bentley — is a breath of fresh air, revealing the human behind the history.\u003c/p>\n\u003cp>Bentley’s \u003cem>Serenade \u003c/em>is grounded by a minute-by-minute recollection of Balanchine’s 1934 masterpiece of the same name, interspersed with the author’s own memories of the choreographer, stories from his past, as well as forays into topics like the development of the pointe shoe, the life and work of composer Pyotr Ilyich Tchaikovsky, and the choreography of Marius Petipa. Bentley’s words not only illuminate Balanchine, they also unveil the lifelong devotion, love and unending fascination that come along with a career in ballet.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophie Bress is a dance writer and former dancer based in Utah. She holds a master’s degree in arts journalism from the University of Southern California and writes for ‘Dance Magazine,’ ‘Fjord Review,’ ‘Pointe’ and others. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2022+was+a+big+year+for+dance+books%3A+Here+are+5+to+check+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not often you find whole sections of bookstores or libraries devoted to books on dance. But this doesn’t mean that there’s a shortage of good books on the topic — especially this year.\u003c/p>\n\u003cp>2022 was particularly prosperous for books about ballet, with many notable memoirs, biographies, and works of fiction making their debuts. So, we’re taking a moment to highlight some of those. Our selection of titles sheds light not only on some of the form’s most iconic figures, but also provides a glimpse into the state of ballet culture today — and the direction it will be heading next year and for years to come.\u003c/p>\n\u003ch3>\u003cem>The Wind at My Back\u003c/em>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When all eyes were on Misty Copeland in advance of her promotion to principal dancer at American Ballet Theatre — which made her the first Black woman to achieve the highest rank in the iconic company — audiences saw an inspirational woman, a beautiful dancer, and a watershed event for the overwhelmingly white art form. What they didn’t see however, were Copeland’s private struggles with imposter syndrome, internalized trauma, and the still present systemic racism in the ballet world.\u003c/p>\n\u003cp>In her latest book, Copeland (writing with with Susan Fales-Hill) candidly recounts these experiences with the same grace and strength that imbue her dancing, all while paying homage to her mentor, Raven Wilkinson, and the many other Black ballerinas that laid the foundation for Copeland to soar. Part memoir, part tribute to the late Wilkinson, who toured the country with the Ballet Russe de Monte-Carlo during the height of the Civil Rights Movement, \u003cem>The Wind at My Back\u003c/em> chronicles Copeland’s relationship with her mentor, draws parallels between their paths in dance, and ends with a call to action. Through Wilkinson, Copeland taps into her deeper purpose of being a role model for other ballet dancers of color, and her words tell readers exactly what it will take to continue to move the form forward and ensure bright futures for these young artists.\u003c/p>\n\u003ch3>\u003cem>They’re Going to Love You\u003c/em>\u003c/h3>\n\u003cp>In this novel by Meg Howrey, Carlisle Martin — born to a ballerina mother and a balletomane father — dreams of dancing with the New York City Ballet. After her parent’s separation, the NYC home her father shares with his partner, James, becomes a place of wonder — and someplace she wants to belong, but doesn’t quite feel at home. After her above-average height dashes her hopes of ballet stardom, and a betrayal estranges her from her father and James, Carlisle charts her own path, moves to Los Angeles, and starts her career as a choreographer. When she receives the news that her father is dying, she is forced to reckon with her past, all while preparing for the biggest commission of her career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>They’re Going to Love You\u003c/em> oscillates between present-day reflections and flashbacks to Carlisle’s life as an adolescent and young adult, ultimately emerging as a beautiful and relatable portrait of a woman, her regrets, and her successes. As Howrey unflinchingly and honestly dives into the intricacies of relationships and the inevitable growing pains that come with life, she also mines her history as a ballet dancer to deliver an honest portrayal of the dance world, the realities of working artists, and the obstacles facing female choreographers, revealing real-world truths through a fictional setting.\u003c/p>\n\u003ch3>\u003cem>La Nijinska \u003c/em>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Most balletomanes are familiar with Vaslav Nijinsky, the famous 20th-century dancer and choreographer who was widely hailed for his virtuosity and who made waves with his original works. Fewer though, are intimately familiar with his sister, Bronislava Nijinska, despite the fact that, as author and dance historian Lynn Garafola asserts, her myriad contributions far outweighed Nijinsky’s comparatively brief foray into the limelight.\u003c/p>\n\u003cp>\u003cem>La Nijinska \u003c/em>is the first biography written about the female choreographer, who created nearly 80 original ballets and was a guiding force for the development of 20th-century modernism. The book mines interviews, archival reviews, reflections of the dancers who worked with Nijinska, and the choreographer’s own letters and diaries to paint a picture of the prolific dancemaker. Nijinska is wholly deserving of the nearly 500-page opus, which, given today’s movement to foster and support women choreographers, comes at just the right time.\u003c/p>\n\u003ch3>\u003cem>Three Muses\u003c/em>\u003c/h3>\n\u003cp>Author Martha Anne Toll’s first novel uses a post-WWII ballet world as the backdrop to weave an intimate portrait of romance and heartbreak. \u003cem>Three Muses \u003c/em>follows prima ballerina Katya Symanova, who is immersed in an abusive yet creatively generative relationship with choreographer Boris Yanakov, as she meets and falls in love with John Curtin, a young psychiatrist and Holocaust survivor.\u003c/p>\n\u003cp>Toll’s novel is not only notable for its poignant prose, clever foreshadowing, and deeply moving ending, it also comments on many of the harsher truths present in the ballet world, acknowledging the reality without glamorizing it. The author, a freelance book critic who has written reviews for NPR, not only uses a true-to-life version of the 1950s dance world as her stage, she uses choreography as a key element of the plot, with the dances she creates for her characters perfectly echoing their inner lives.\u003c/p>\n\u003ch3>\u003cem>Serenade\u003c/em>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the ballet world, George Balanchine, the co-founder of the New York City Ballet, has almost been raised to superhuman status. His signature modern, plotless approach to dancemaking is still widely lauded, his choreography is performed by some of the most successful dancers and companies, and words like “legend,” “icon” and “seminal” are often used to describe him. Hearing about Balanchine from someone who actually knew him and danced for him — like author Toni Bentley — is a breath of fresh air, revealing the human behind the history.\u003c/p>\n\u003cp>Bentley’s \u003cem>Serenade \u003c/em>is grounded by a minute-by-minute recollection of Balanchine’s 1934 masterpiece of the same name, interspersed with the author’s own memories of the choreographer, stories from his past, as well as forays into topics like the development of the pointe shoe, the life and work of composer Pyotr Ilyich Tchaikovsky, and the choreography of Marius Petipa. Bentley’s words not only illuminate Balanchine, they also unveil the lifelong devotion, love and unending fascination that come along with a career in ballet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophie Bress is a dance writer and former dancer based in Utah. She holds a master’s degree in arts journalism from the University of Southern California and writes for ‘Dance Magazine,’ ‘Fjord Review,’ ‘Pointe’ and others. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2022+was+a+big+year+for+dance+books%3A+Here+are+5+to+check+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "How Niche Rap Stars Quietly Conquered 2022 | KQED",
"content": "\u003cp>If you can’t find the emergent rap stars in 2022, you might be looking in the wrong place. A \u003ca href=\"https://www.billboard.com/pro/hip-hop-music-most-popular-genre-dominance-slipping/\">recent \u003cem>Billboard\u003c/em> feature\u003c/a> about hip-hop’s status as a market leader suggested that a generation of rap stars is aging out and few new ones are filling the void. But scan lists of the most streamed artists of the year and, between the boldface names of artists like Drake, Future, Eminem and Kendrick Lamar, you will find a few whose presence feels less inevitable. The metrics for stardom have always required specific machinery, but that machinery has been altered in the 2020s, thanks in large part to changes in streaming infrastructure. The digital paths we came to recognize in the last decade tended to aim at an eventual level-up: leveraging a base on SoundCloud into radio play, or turning a viral video into a TV spot. For some in this latest generation, that kind of signal boost is beside the point.\u003c/p>\n\u003cp>[aside postID='arts_13922511']To be fair, it is true that hip-hop is facing some critical challenges that have curbed its star power in recent years. Its lyrics have become a favorite tool of the carceral system, both stateside and abroad. An obscene number of young rap stars have been killed by gun violence and opioid abuse — though, importantly, that rise has been commensurate with record deaths in both categories nationwide over the same period, according to \u003ca href=\"https://www.nbcnews.com/news/us-news/third-straight-year-america-hits-grim-milestone-600-multiple-victim-sh-rcna58230\">The Gun Violence Archive\u003c/a> and the \u003ca href=\"https://www.cnn.com/2022/12/14/health/drug-overdose-deaths-slowing/index.html\">CDC\u003c/a>, respectively. (As usual, rap is merely reflecting the values of American culture.) Meanwhile, a few of rap’s biggest names have tanked their own careers in public lately. DaBaby talked his way into oblivion. Questions remain about Travis Scott’s culpability in the deaths of concertgoers during the Astroworld festival in 2021. His mentor Kanye West, or Ye, spent months effectively self-identifying as antisemitic, before capping the year with a note of \u003ca href=\"https://www.npr.org/2022/12/02/1140218872/ye-antisemitism-alex-jones-podcast\">praise for Hitler\u003c/a> that seemed to stun even the notorious far-right conspiracy theorist Alex Jones.\u003c/p>\n\u003cp>But beyond these complications, the idea that rap stardom at large is dwindling must come down to the model used to measure it. For most of pop history, the household name has been fashioned by a combination of radio plays and TV appearances, awards show nominations and “it” moments — signifiers that add up to an artist as a cultural force, prominent in ways that can’t be ignored. And by those standards, there are still those whose ascendancy has been presented in familiar terms. Lil Baby, Gunna and Jack Harlow, each riding a comfortable upswing, all scored hit albums and singles this year. Megan Thee Stallion remains an A-lister, her name and music at the center of discourse despite the chaos of her situation. Polo G and Playboi Carti made such dominant showings in the early COVID era, they were able to take 2022 off and still feel unavoidable. 21 Savage, coming off a long break, reaffirmed his status with Drake at his side.\u003c/p>\n\u003cp>But at the fringes of that more recognizable sphere of celebrity, a new kind of star has been hard at work: the platform-conscious niche star, whose massive fanbase only looks small when compared with total ubiquity. Hip-hop has some precedent for such figures, embodied in those regional successes who operate without much concern for crossing over. And the diminished visibility of many of these niche stars has at least a little to do with their aversion to press, or the press’s aversion to them. But if you believe there’s a meaningful distinction between what is outwardly omnipresent in culture and what is \u003cem>reaching\u003c/em> people — between what is promoted and what is actually beloved — the fringe rap star is a living test of this principle, the kind of artist whose success manifests in being actively listened to by 100 people, rather than casually heard by 1,000. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k-PaOWxvnz0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2022, YoungBoy Never Broke Again (or \u003ca href=\"https://www.npr.org/artists/898640762/nba-youngboy\">NBA YoungBoy\u003c/a>), \u003ca href=\"https://www.npr.org/artists/783292357/rod-wave\">Rod Wave\u003c/a>, Lil Durk, Yeat and a resurgent Kodak Black stood out among a cohort of artists who are finding ways to connect with legions of listeners while the wider pop cultural apparatus mostly ignores them. Their central appeal is their music, all varying strains of melodic rap. Their success is tangible, at least by the streaming era’s murky math: Of the 13 albums \u003ca href=\"https://www.riaa.com/riaas-2022-year-end-gold-platinum-awards/\">certified by the RIAA\u003c/a> this year, Durk’s \u003cem>7220\u003c/em> was one of only five to go platinum. YoungBoy scored two of the eight gold plaques, and Rod and Kodak each nabbed one more. The stars behind these numbers have each produced their own distilled sound, and though their paths differ, their stories overlap. Through the gaps in social platforming and the increased sprawl of the streaming model (with direct-to-consumer meeting word-of-mouth), these performers took the leap, some despite significant controversy, to help define the year in rap for those who took notice.\u003c/p>\n\u003cp>NBA YoungBoy is the archetype for this phenomenon. The Baton Rouge rapper’s total streaming numbers are second to only Drake’s among all artists, and yet he is hidden. He has no radio presence. He isn’t even in the Top 20 on \u003cem>Billboard\u003c/em>‘s\u003ca href=\"https://www.billboard.com/charts/year-end/top-artists/\"> year-end artists\u003c/a> list. Nor is he one of Spotify’s Top 5 most-streamed artists in America. Where sheer numbers are concerned, his competitive edge against music’s one-percenters lies in a machinelike productivity. YoungBoy seems to have the upload button held down: He’s prolific but consistent, always active and always online, rolling out content at the algorithm’s desired pace. Musically, there is a subtle ranginess within his squawked, autotuned performances that has kept him clear of stagnancy, a contrast you can hear in his last two solo projects — the Cash Money-inspired 3\u003cem>800 Degrees\u003c/em> is belligerent and burly, whereas \u003cem>Ma’ I Got A Family\u003c/em> is more subdued and tender. It’s that duality that has helped sustain his nonstop creative march.\u003c/p>\n\u003cp>Rod Wave has picked up a reputation as rap’s resident melancholiac, so much so that he announced that his August LP, \u003cem>Beautiful Mind\u003c/em>, would be his last “\u003ca href=\"https://www.xxlmag.com/rod-wave-last-sad-album/\">sad-ass album\u003c/a>.” It might be more accurate to call his music yearning: He is certainly a bluesman, but often his songs are about pushing forward through tragedy and bearing the brunt of loss. It’s easy to understand how that approach has resonated in these pandemic years; Rod has had an album debut in the Top 2 on the \u003cem>Billboard\u003c/em> 200 every year since 2020. Unlike many other rappers in this conversation, he seems to create in isolation — his records barely have any features, and he\u003ca href=\"https://www.complex.com/music/drake-responds-rod-wave-explanation-turning-down-collaboration\"> nixed\u003c/a> a Drake collab on the grounds that he wasn’t satisfied with his own contribution to the track. His music is sympathetic and accessible, vulnerable in an almost ordinary way. It feels characteristic of the artist who makes it, cautious and homespun. \u003c/p>\n\u003cp>[pullquote]All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life.[/pullquote]Lil Durk’s rise started out a bit more traditional. The Chicago rapper was initially swept up in the drill gold rush of the early 2010s, but his career stalled; A&Rs didn’t seem to know what to do with him, and he was released from his Def Jam deal in 2018. He has been steadily resurfacing ever since: five \u003cem>Billboard\u003c/em> Top 5 albums in four years, three of those certified platinum, including a collaboration with Lil Baby. This year, he sold out the United Center for the hometown show of his \u003cem>7220\u003c/em> tour. Similarly to Rod, Durk’s success is built on openness, but his music sets a far colder mood, hardened against the harsh realities of the violence its words brush against. As drill continues its global expansion, Durk has developed in meditative directions. He does have a bruiser mode where he cuts the autotune and reflects on the cruelty he has experienced, but his most reflective mode, the default one that earned him the nickname “The Voice,” is poignant, droning singsong. Both qualities have made him a reliable foil for rappers like Drake, Cardi B, Gucci Mane and Meek Mill.\u003c/p>\n\u003cp>Somewhere beyond the currently quantifiable lies Yeat. A former Slayworld affiliate, his music pries open rage beats (cascading electronic production often resembling 8-bit video game music) and tunnels through their vortexes, his wheezing flows opening portals to realms as vivid as \u003cem>Castlevania\u003c/em>‘s gothic horror or \u003cem>Doom\u003c/em>‘s hell-raising pandemonium. Yeat songs are soundscapes for a digital world, so it’s unsurprising that the native ecosystem for his music is TikTok, where songs can exist almost purely as trend fuel or edit glue. He has carved out a distinct niche as a meme rapper — his song “Rich Minions” prompted zealous, suit-wearing teenagers to mob screenings of a \u003cem>Despicable Me\u003c/em> prequel — and on YouTube he is a king of the fan-made AMV, or anime music video. As surreal and stupefying as his rise has been, there is something genuinely mesmerizing in the music, whose Simlish cadences really do feel equipped with the power to make memes real.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FdzaIa9pYmg\u003c/p>\n\u003cp>If there is an exception that proves the rule, it is Kodak Black, whose ignominy often overshadows the music he makes. The Florida rapper reemerged at the top of the year from an incarceration-induced down period, and with “Super Gremlin” notched the year’s biggest YouTube hit to not have come from the \u003cem>Encanto\u003c/em> soundtrack. He is a melodic rapper’s melodic rapper: Roddy Ricch\u003ca href=\"https://www.complex.com/music/roddy-ricch-names-big-3-rappers-of-his-generation-nle-choppa-snubbed\"> dubbed\u003c/a> him one of their generation’s big three (along with YoungBoy), and Drake separately delivered his own endorsement: “You really all that for this generation and the next one if we being honest,” he\u003ca href=\"https://www.xxlmag.com/drake-kodak-black-cosign/\"> wrote\u003c/a>. Kendrick Lamar must feel similarly, since he used Kodak as a proxy on his crucible of an album, \u003cem>Mr. Morale & the Big Steppers\u003c/em>, a decision that received considerable \u003ca href=\"https://www.mic.com/culture/kendrick-lamar-kodak-black-mr-morale-big-steppers\">backlash\u003c/a>, but one that, in its own way, seems to wrestle with star power and celebrity responsibility and cult followings, with Kendrick himself longing to retreat to the periphery.\u003c/p>\n\u003cp>The notoriety that Kodak does have, or the infamy he has earned, is rooted in a buffoonery that has stretched into lawlessness. He has a long rap sheet, including a charge of first-degree criminal sexual conduct (which he \u003ca href=\"https://www.rollingstone.com/music/music-news/kodak-black-pleads-guilty-to-first-degree-assault-and-battery-in-sexual-misconduct-case-1162747/\">pled down\u003c/a> to first-degree assault and battery last year) and a firearm charge (which was \u003ca href=\"https://www.nytimes.com/2021/01/20/arts/music/trump-pardons-lil-wayne-kodak-black.html\">commuted\u003c/a> by then-President Donald Trump in 2020). And, frankly, he is incendiary and exasperating: The rapper has an extensive history of ignorant, colorist, sexist comments. All that baggage is saddling one of the most talented prospects in recent years, a rapper beloved by critics until he made himself unlovable. The same impishness that has made him a super gremlin in public seems to govern his songs; his croaked raps are charged with a mischievous energy. Kodak likely benefits most among his peers from operating on the fringes, where his nonstop antics don’t have to face the more searing scrutiny of the megawatt spotlight.\u003c/p>\n\u003cp>In that way and others, staying out of the public eye can be a PR strategy for circumventing the demands made of headliners. Talk of the ethics of streaming tends to center on the platforms, but on the user end there seems to be a disparity between the way people talk about music and the way they listen, or perhaps between those doing the talking and those doing the listening. Kodak is a streaming mainstay despite his history. YoungBoy and Rod Wave have been\u003ca href=\"https://pitchfork.com/news/nba-youngboy-pleads-guilty-to-misdemeanor-battery/\"> similarly\u003c/a>\u003ca href=\"https://www.rollingstone.com/music/music-news/rod-wave-choked-ex-domestic-battery-charge-1352058/\"> detained\u003c/a>. Even Durk isn’t \u003ca href=\"https://www.xxlmag.com/lil-durk-defends-morgan-wallen-encourages-kendrick-lamar-work-with-him/\">free\u003c/a> of \u003ca href=\"https://www.rollingstone.com/music/music-news/lil-durk-attempted-murder-charge-dropped-1234616773/\">controversy\u003c/a>. Rap has long been a business that courts provocation to build momentum, like a wrestling heel on a promo run. But the opposite can be true, too: Sometimes the best way to maintain momentum is to create as little friction as possible, to avoid controversy at all costs. Yeat often can’t even be bothered to show his face. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, beyond the bad behavior, there is something subtler and more fascinating at play: All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life. Put YoungBoy or Rod Wave on shuffle and the songs can begin to bleed together. The artists are making distinctive, captivating music within their concealed little nooks, but they are using defined formulas to do so. It is the perfect balance for remaining hidden in plain sight. Their work never feels out of place on any modern rap playlist, but click away from the infinite wade of the stream and into their individual discographies, and a secret little sphere is unveiled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+niche+rap+stars+quietly+conquered+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find the emergent rap stars in 2022, you might be looking in the wrong place. A \u003ca href=\"https://www.billboard.com/pro/hip-hop-music-most-popular-genre-dominance-slipping/\">recent \u003cem>Billboard\u003c/em> feature\u003c/a> about hip-hop’s status as a market leader suggested that a generation of rap stars is aging out and few new ones are filling the void. But scan lists of the most streamed artists of the year and, between the boldface names of artists like Drake, Future, Eminem and Kendrick Lamar, you will find a few whose presence feels less inevitable. The metrics for stardom have always required specific machinery, but that machinery has been altered in the 2020s, thanks in large part to changes in streaming infrastructure. The digital paths we came to recognize in the last decade tended to aim at an eventual level-up: leveraging a base on SoundCloud into radio play, or turning a viral video into a TV spot. For some in this latest generation, that kind of signal boost is beside the point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be fair, it is true that hip-hop is facing some critical challenges that have curbed its star power in recent years. Its lyrics have become a favorite tool of the carceral system, both stateside and abroad. An obscene number of young rap stars have been killed by gun violence and opioid abuse — though, importantly, that rise has been commensurate with record deaths in both categories nationwide over the same period, according to \u003ca href=\"https://www.nbcnews.com/news/us-news/third-straight-year-america-hits-grim-milestone-600-multiple-victim-sh-rcna58230\">The Gun Violence Archive\u003c/a> and the \u003ca href=\"https://www.cnn.com/2022/12/14/health/drug-overdose-deaths-slowing/index.html\">CDC\u003c/a>, respectively. (As usual, rap is merely reflecting the values of American culture.) Meanwhile, a few of rap’s biggest names have tanked their own careers in public lately. DaBaby talked his way into oblivion. Questions remain about Travis Scott’s culpability in the deaths of concertgoers during the Astroworld festival in 2021. His mentor Kanye West, or Ye, spent months effectively self-identifying as antisemitic, before capping the year with a note of \u003ca href=\"https://www.npr.org/2022/12/02/1140218872/ye-antisemitism-alex-jones-podcast\">praise for Hitler\u003c/a> that seemed to stun even the notorious far-right conspiracy theorist Alex Jones.\u003c/p>\n\u003cp>But beyond these complications, the idea that rap stardom at large is dwindling must come down to the model used to measure it. For most of pop history, the household name has been fashioned by a combination of radio plays and TV appearances, awards show nominations and “it” moments — signifiers that add up to an artist as a cultural force, prominent in ways that can’t be ignored. And by those standards, there are still those whose ascendancy has been presented in familiar terms. Lil Baby, Gunna and Jack Harlow, each riding a comfortable upswing, all scored hit albums and singles this year. Megan Thee Stallion remains an A-lister, her name and music at the center of discourse despite the chaos of her situation. Polo G and Playboi Carti made such dominant showings in the early COVID era, they were able to take 2022 off and still feel unavoidable. 21 Savage, coming off a long break, reaffirmed his status with Drake at his side.\u003c/p>\n\u003cp>But at the fringes of that more recognizable sphere of celebrity, a new kind of star has been hard at work: the platform-conscious niche star, whose massive fanbase only looks small when compared with total ubiquity. Hip-hop has some precedent for such figures, embodied in those regional successes who operate without much concern for crossing over. And the diminished visibility of many of these niche stars has at least a little to do with their aversion to press, or the press’s aversion to them. But if you believe there’s a meaningful distinction between what is outwardly omnipresent in culture and what is \u003cem>reaching\u003c/em> people — between what is promoted and what is actually beloved — the fringe rap star is a living test of this principle, the kind of artist whose success manifests in being actively listened to by 100 people, rather than casually heard by 1,000. \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/k-PaOWxvnz0'\n title='//www.youtube.com/embed/k-PaOWxvnz0'\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>In 2022, YoungBoy Never Broke Again (or \u003ca href=\"https://www.npr.org/artists/898640762/nba-youngboy\">NBA YoungBoy\u003c/a>), \u003ca href=\"https://www.npr.org/artists/783292357/rod-wave\">Rod Wave\u003c/a>, Lil Durk, Yeat and a resurgent Kodak Black stood out among a cohort of artists who are finding ways to connect with legions of listeners while the wider pop cultural apparatus mostly ignores them. Their central appeal is their music, all varying strains of melodic rap. Their success is tangible, at least by the streaming era’s murky math: Of the 13 albums \u003ca href=\"https://www.riaa.com/riaas-2022-year-end-gold-platinum-awards/\">certified by the RIAA\u003c/a> this year, Durk’s \u003cem>7220\u003c/em> was one of only five to go platinum. YoungBoy scored two of the eight gold plaques, and Rod and Kodak each nabbed one more. The stars behind these numbers have each produced their own distilled sound, and though their paths differ, their stories overlap. Through the gaps in social platforming and the increased sprawl of the streaming model (with direct-to-consumer meeting word-of-mouth), these performers took the leap, some despite significant controversy, to help define the year in rap for those who took notice.\u003c/p>\n\u003cp>NBA YoungBoy is the archetype for this phenomenon. The Baton Rouge rapper’s total streaming numbers are second to only Drake’s among all artists, and yet he is hidden. He has no radio presence. He isn’t even in the Top 20 on \u003cem>Billboard\u003c/em>‘s\u003ca href=\"https://www.billboard.com/charts/year-end/top-artists/\"> year-end artists\u003c/a> list. Nor is he one of Spotify’s Top 5 most-streamed artists in America. Where sheer numbers are concerned, his competitive edge against music’s one-percenters lies in a machinelike productivity. YoungBoy seems to have the upload button held down: He’s prolific but consistent, always active and always online, rolling out content at the algorithm’s desired pace. Musically, there is a subtle ranginess within his squawked, autotuned performances that has kept him clear of stagnancy, a contrast you can hear in his last two solo projects — the Cash Money-inspired 3\u003cem>800 Degrees\u003c/em> is belligerent and burly, whereas \u003cem>Ma’ I Got A Family\u003c/em> is more subdued and tender. It’s that duality that has helped sustain his nonstop creative march.\u003c/p>\n\u003cp>Rod Wave has picked up a reputation as rap’s resident melancholiac, so much so that he announced that his August LP, \u003cem>Beautiful Mind\u003c/em>, would be his last “\u003ca href=\"https://www.xxlmag.com/rod-wave-last-sad-album/\">sad-ass album\u003c/a>.” It might be more accurate to call his music yearning: He is certainly a bluesman, but often his songs are about pushing forward through tragedy and bearing the brunt of loss. It’s easy to understand how that approach has resonated in these pandemic years; Rod has had an album debut in the Top 2 on the \u003cem>Billboard\u003c/em> 200 every year since 2020. Unlike many other rappers in this conversation, he seems to create in isolation — his records barely have any features, and he\u003ca href=\"https://www.complex.com/music/drake-responds-rod-wave-explanation-turning-down-collaboration\"> nixed\u003c/a> a Drake collab on the grounds that he wasn’t satisfied with his own contribution to the track. His music is sympathetic and accessible, vulnerable in an almost ordinary way. It feels characteristic of the artist who makes it, cautious and homespun. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lil Durk’s rise started out a bit more traditional. The Chicago rapper was initially swept up in the drill gold rush of the early 2010s, but his career stalled; A&Rs didn’t seem to know what to do with him, and he was released from his Def Jam deal in 2018. He has been steadily resurfacing ever since: five \u003cem>Billboard\u003c/em> Top 5 albums in four years, three of those certified platinum, including a collaboration with Lil Baby. This year, he sold out the United Center for the hometown show of his \u003cem>7220\u003c/em> tour. Similarly to Rod, Durk’s success is built on openness, but his music sets a far colder mood, hardened against the harsh realities of the violence its words brush against. As drill continues its global expansion, Durk has developed in meditative directions. He does have a bruiser mode where he cuts the autotune and reflects on the cruelty he has experienced, but his most reflective mode, the default one that earned him the nickname “The Voice,” is poignant, droning singsong. Both qualities have made him a reliable foil for rappers like Drake, Cardi B, Gucci Mane and Meek Mill.\u003c/p>\n\u003cp>Somewhere beyond the currently quantifiable lies Yeat. A former Slayworld affiliate, his music pries open rage beats (cascading electronic production often resembling 8-bit video game music) and tunnels through their vortexes, his wheezing flows opening portals to realms as vivid as \u003cem>Castlevania\u003c/em>‘s gothic horror or \u003cem>Doom\u003c/em>‘s hell-raising pandemonium. Yeat songs are soundscapes for a digital world, so it’s unsurprising that the native ecosystem for his music is TikTok, where songs can exist almost purely as trend fuel or edit glue. He has carved out a distinct niche as a meme rapper — his song “Rich Minions” prompted zealous, suit-wearing teenagers to mob screenings of a \u003cem>Despicable Me\u003c/em> prequel — and on YouTube he is a king of the fan-made AMV, or anime music video. As surreal and stupefying as his rise has been, there is something genuinely mesmerizing in the music, whose Simlish cadences really do feel equipped with the power to make memes real.\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/FdzaIa9pYmg'\n title='//www.youtube.com/embed/FdzaIa9pYmg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If there is an exception that proves the rule, it is Kodak Black, whose ignominy often overshadows the music he makes. The Florida rapper reemerged at the top of the year from an incarceration-induced down period, and with “Super Gremlin” notched the year’s biggest YouTube hit to not have come from the \u003cem>Encanto\u003c/em> soundtrack. He is a melodic rapper’s melodic rapper: Roddy Ricch\u003ca href=\"https://www.complex.com/music/roddy-ricch-names-big-3-rappers-of-his-generation-nle-choppa-snubbed\"> dubbed\u003c/a> him one of their generation’s big three (along with YoungBoy), and Drake separately delivered his own endorsement: “You really all that for this generation and the next one if we being honest,” he\u003ca href=\"https://www.xxlmag.com/drake-kodak-black-cosign/\"> wrote\u003c/a>. Kendrick Lamar must feel similarly, since he used Kodak as a proxy on his crucible of an album, \u003cem>Mr. Morale & the Big Steppers\u003c/em>, a decision that received considerable \u003ca href=\"https://www.mic.com/culture/kendrick-lamar-kodak-black-mr-morale-big-steppers\">backlash\u003c/a>, but one that, in its own way, seems to wrestle with star power and celebrity responsibility and cult followings, with Kendrick himself longing to retreat to the periphery.\u003c/p>\n\u003cp>The notoriety that Kodak does have, or the infamy he has earned, is rooted in a buffoonery that has stretched into lawlessness. He has a long rap sheet, including a charge of first-degree criminal sexual conduct (which he \u003ca href=\"https://www.rollingstone.com/music/music-news/kodak-black-pleads-guilty-to-first-degree-assault-and-battery-in-sexual-misconduct-case-1162747/\">pled down\u003c/a> to first-degree assault and battery last year) and a firearm charge (which was \u003ca href=\"https://www.nytimes.com/2021/01/20/arts/music/trump-pardons-lil-wayne-kodak-black.html\">commuted\u003c/a> by then-President Donald Trump in 2020). And, frankly, he is incendiary and exasperating: The rapper has an extensive history of ignorant, colorist, sexist comments. All that baggage is saddling one of the most talented prospects in recent years, a rapper beloved by critics until he made himself unlovable. The same impishness that has made him a super gremlin in public seems to govern his songs; his croaked raps are charged with a mischievous energy. Kodak likely benefits most among his peers from operating on the fringes, where his nonstop antics don’t have to face the more searing scrutiny of the megawatt spotlight.\u003c/p>\n\u003cp>In that way and others, staying out of the public eye can be a PR strategy for circumventing the demands made of headliners. Talk of the ethics of streaming tends to center on the platforms, but on the user end there seems to be a disparity between the way people talk about music and the way they listen, or perhaps between those doing the talking and those doing the listening. Kodak is a streaming mainstay despite his history. YoungBoy and Rod Wave have been\u003ca href=\"https://pitchfork.com/news/nba-youngboy-pleads-guilty-to-misdemeanor-battery/\"> similarly\u003c/a>\u003ca href=\"https://www.rollingstone.com/music/music-news/rod-wave-choked-ex-domestic-battery-charge-1352058/\"> detained\u003c/a>. Even Durk isn’t \u003ca href=\"https://www.xxlmag.com/lil-durk-defends-morgan-wallen-encourages-kendrick-lamar-work-with-him/\">free\u003c/a> of \u003ca href=\"https://www.rollingstone.com/music/music-news/lil-durk-attempted-murder-charge-dropped-1234616773/\">controversy\u003c/a>. Rap has long been a business that courts provocation to build momentum, like a wrestling heel on a promo run. But the opposite can be true, too: Sometimes the best way to maintain momentum is to create as little friction as possible, to avoid controversy at all costs. Yeat often can’t even be bothered to show his face. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, beyond the bad behavior, there is something subtler and more fascinating at play: All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life. Put YoungBoy or Rod Wave on shuffle and the songs can begin to bleed together. The artists are making distinctive, captivating music within their concealed little nooks, but they are using defined formulas to do so. It is the perfect balance for remaining hidden in plain sight. Their work never feels out of place on any modern rap playlist, but click away from the infinite wade of the stream and into their individual discographies, and a secret little sphere is unveiled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+niche+rap+stars+quietly+conquered+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why ‘All I Want for Christmas Is You’ Tops the Charts Every Year (2022 Included)",
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"content": "\u003cp>Mariah Carey is back on top again, with her holiday hit “All I Want for Christmas Is You” reaching the \u003ca href=\"https://www.billboard.com/charts/hot-100/\">no. 1 spot\u003c/a> on the Billboard Hot 100 songs chart this week for the fourth year in a row.\u003c/p>\n\u003cp>This makes it the \u003ca href=\"https://twitter.com/billboardcharts/status/1602379297817337857?s=20&t=7JKKyPVuXTWg778MTY7EQA\">first song in history\u003c/a> to have four separate runs at No. 1 on the chart, from 2019 to 2022.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"pop_17288,pop_14388,arts_13922351\"]The song was originally released on Carey’s 1994 Christmas album, but streaming services, technological changes and general holiday cheer have helped make it a hallmark of the Yuletide season only in recent years (to the delight of Carey fans and \u003ca href=\"https://www.wsj.com/articles/mariah-carey-all-i-want-for-christmas-song-shopping-retail-11670857012\">dismay of inundated retail workers\u003c/a> everywhere).\u003c/p>\n\u003cp>Carey broke from the mold by releasing original holiday music, since most artists at the time chose to cover Christmas standards, Gary Trust, Billboard’s senior director of charts, \u003ca href=\"https://www.npr.org/2021/12/25/1067966158/why-all-i-want-for-christmas-is-you-is-a-staple-year-after-year\">told NPR\u003c/a> last winter. And that gamble paid off (literally: \u003cem>The Economist\u003c/em> \u003ca href=\"https://www.economist.com/graphic-detail/2017/11/30/the-music-industry-should-be-dreaming-of-a-white-christmas\">reported in 2017\u003c/a> that Carey had earned over $60 million in royalties since its release).\u003c/p>\n\u003cp>“It sounds like what we’ve always traditionally thought a holiday song sounds like, with those jingle bells and just the fun, upbeat sound, but updated for the ’90s and obviously Mariah’s vocals,” Trust said. “With different lyrics, I feel like this could be a hit any time of the year.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Listeners and fans have prolonged the song’s popularity not only by playing it incessantly, but by making videos and memes about it every year (Carey herself partakes, including by famously \u003ca href=\"https://twitter.com/MariahCarey/status/1587293603629617153?s=20&t=V76VNLmhgNxUD5ysu7Yv5w\">announcing the start of the holiday season\u003c/a> the moment Halloween ends).\u003c/p>\n\u003cp>Christmas has become part of Carey’s identity to millions of people, he added, comparing her to “a modern-day Santa Claus.”\u003c/p>\n\u003cp>“She makes it really personal, and it’s just that connection back-and-forth,” he said. “I think memes really work when there’s that interaction, obviously. That’s how they keep growing. So I think if she didn’t have a sense of humor, maybe we wouldn’t connect with her as much.”\u003c/p>\n\u003ch2>The song has long been popular, but started topping charts recently\u003c/h2>\n\u003cp>The contemporary carol’s rankings have also been helped by \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">changes to Billboard’s chart rules\u003c/a> — specifically governing holiday music — over the last few decades.\u003c/p>\n\u003cp>“In short, ‘All I Want for Christmas Is You’ has long been a smash waiting for the metrics to catch up,” Chris Molanphy \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">wrote for Slate in 2019\u003c/a>. “Separately this decade, Billboard rebooted its former Christmas minichart as the Holiday 100, and ever since its launch in 2011, the Holiday chart has basically been the Mariah chart.”\u003c/p>\n\u003cp>https://twitter.com/billboardcharts/status/1602363007828463643\u003c/p>\n\u003cp>The song reached the Hot 100’s top 10 for the first time in Dec. 2017 and broke into the top five the following year. Its meteoric rise continued from there, as it’s held the top spot on the holiday charts (for two to three weeks straight) every year since 2019.\u003c/p>\n\u003cp>The streak continues this year, marking the song’s ninth total week in the top spot. It expands its record for a holiday song’s most time at No. 1 (more than doubling the time that the previous leader, David Seville & The Chipmunks’ “The Chipmunk Song,” spent there in 1958 — the same year the Hot 100 launched).\u003c/p>\n\u003cp>Carey called the news “such an amazing surprise and an early Christmas gift” in a \u003ca href=\"https://twitter.com/MariahCarey/status/1602611119276843008?s=20&t=0omQTGM8ezxgmiLlmttz0A\">celebratory tweet\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/MariahCarey/status/1602611119276843008\u003c/p>\n\u003ch2>Carey holds the (contested) Christmas crown\u003c/h2>\n\u003cp>The song is ruling other Billboard charts this week too, including the U.K. Singles Chart and the Billboard Global 200.\u003c/p>\n\u003cp>Meanwhile, YouTube Music \u003ca href=\"https://twitter.com/youtubemusic/status/1602740136344981506?s=20&t=7JKKyPVuXTWg778MTY7EQA\">announced Tuesday\u003c/a> that the song is No. 1 on the Top Songs U.S. chart and No. 2 on the Top Music Videos chart. And last week it also topped \u003ca href=\"https://twitter.com/spotifycharts/status/1602304814129598469/photo/1\">the global top songs\u003c/a> on Spotify, where it hit 1 billion streams \u003ca href=\"https://www.billboard.com/music/pop/mariah-carey-all-i-want-for-christmas-is-you-1-billion-streams-1235013842/\">last December\u003c/a>.\u003c/p>\n\u003cp>This latest milestone gives Carey a slew of additional bragging rights, if you run the numbers (which Billboard did).\u003c/p>\n\u003cp>It extends her record for the longest span of an artist ranking at No. 1 on the chart to 32 years, four months and three weeks (her debut single “Vision of Love” first made its ascent in Aug. 1990).\u003c/p>\n\u003cp>And it gives her a \u003ca href=\"https://twitter.com/billboardcharts/status/1602379484606464001?s=20&t=7JKKyPVuXTWg778MTY7EQA\">record 88th week\u003c/a> at No. 1 on the Hot 100, which is more than Rihanna or the Beatles can say.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Carey clearly reigns supreme, just don’t call her \u003cem>the\u003c/em> Queen of Christmas. She \u003ca href=\"https://www.npr.org/2022/11/18/1137714601/mariah-carey-christmas-queen-trademark\">lost her bid to trademark that title\u003c/a> and other related terms last month, after it was challenged by a full-time Christmas singer.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+%27All+I+Want+for+Christmas+Is+You%27+tops+the+charts+every+year+%282022+included%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mariah Carey is back on top again, with her holiday hit “All I Want for Christmas Is You” reaching the \u003ca href=\"https://www.billboard.com/charts/hot-100/\">no. 1 spot\u003c/a> on the Billboard Hot 100 songs chart this week for the fourth year in a row.\u003c/p>\n\u003cp>This makes it the \u003ca href=\"https://twitter.com/billboardcharts/status/1602379297817337857?s=20&t=7JKKyPVuXTWg778MTY7EQA\">first song in history\u003c/a> to have four separate runs at No. 1 on the chart, from 2019 to 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The song was originally released on Carey’s 1994 Christmas album, but streaming services, technological changes and general holiday cheer have helped make it a hallmark of the Yuletide season only in recent years (to the delight of Carey fans and \u003ca href=\"https://www.wsj.com/articles/mariah-carey-all-i-want-for-christmas-song-shopping-retail-11670857012\">dismay of inundated retail workers\u003c/a> everywhere).\u003c/p>\n\u003cp>Carey broke from the mold by releasing original holiday music, since most artists at the time chose to cover Christmas standards, Gary Trust, Billboard’s senior director of charts, \u003ca href=\"https://www.npr.org/2021/12/25/1067966158/why-all-i-want-for-christmas-is-you-is-a-staple-year-after-year\">told NPR\u003c/a> last winter. And that gamble paid off (literally: \u003cem>The Economist\u003c/em> \u003ca href=\"https://www.economist.com/graphic-detail/2017/11/30/the-music-industry-should-be-dreaming-of-a-white-christmas\">reported in 2017\u003c/a> that Carey had earned over $60 million in royalties since its release).\u003c/p>\n\u003cp>“It sounds like what we’ve always traditionally thought a holiday song sounds like, with those jingle bells and just the fun, upbeat sound, but updated for the ’90s and obviously Mariah’s vocals,” Trust said. “With different lyrics, I feel like this could be a hit any time of the year.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listeners and fans have prolonged the song’s popularity not only by playing it incessantly, but by making videos and memes about it every year (Carey herself partakes, including by famously \u003ca href=\"https://twitter.com/MariahCarey/status/1587293603629617153?s=20&t=V76VNLmhgNxUD5ysu7Yv5w\">announcing the start of the holiday season\u003c/a> the moment Halloween ends).\u003c/p>\n\u003cp>Christmas has become part of Carey’s identity to millions of people, he added, comparing her to “a modern-day Santa Claus.”\u003c/p>\n\u003cp>“She makes it really personal, and it’s just that connection back-and-forth,” he said. “I think memes really work when there’s that interaction, obviously. That’s how they keep growing. So I think if she didn’t have a sense of humor, maybe we wouldn’t connect with her as much.”\u003c/p>\n\u003ch2>The song has long been popular, but started topping charts recently\u003c/h2>\n\u003cp>The contemporary carol’s rankings have also been helped by \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">changes to Billboard’s chart rules\u003c/a> — specifically governing holiday music — over the last few decades.\u003c/p>\n\u003cp>“In short, ‘All I Want for Christmas Is You’ has long been a smash waiting for the metrics to catch up,” Chris Molanphy \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">wrote for Slate in 2019\u003c/a>. “Separately this decade, Billboard rebooted its former Christmas minichart as the Holiday 100, and ever since its launch in 2011, the Holiday chart has basically been the Mariah chart.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The song reached the Hot 100’s top 10 for the first time in Dec. 2017 and broke into the top five the following year. Its meteoric rise continued from there, as it’s held the top spot on the holiday charts (for two to three weeks straight) every year since 2019.\u003c/p>\n\u003cp>The streak continues this year, marking the song’s ninth total week in the top spot. It expands its record for a holiday song’s most time at No. 1 (more than doubling the time that the previous leader, David Seville & The Chipmunks’ “The Chipmunk Song,” spent there in 1958 — the same year the Hot 100 launched).\u003c/p>\n\u003cp>Carey called the news “such an amazing surprise and an early Christmas gift” in a \u003ca href=\"https://twitter.com/MariahCarey/status/1602611119276843008?s=20&t=0omQTGM8ezxgmiLlmttz0A\">celebratory tweet\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch2>Carey holds the (contested) Christmas crown\u003c/h2>\n\u003cp>The song is ruling other Billboard charts this week too, including the U.K. Singles Chart and the Billboard Global 200.\u003c/p>\n\u003cp>Meanwhile, YouTube Music \u003ca href=\"https://twitter.com/youtubemusic/status/1602740136344981506?s=20&t=7JKKyPVuXTWg778MTY7EQA\">announced Tuesday\u003c/a> that the song is No. 1 on the Top Songs U.S. chart and No. 2 on the Top Music Videos chart. And last week it also topped \u003ca href=\"https://twitter.com/spotifycharts/status/1602304814129598469/photo/1\">the global top songs\u003c/a> on Spotify, where it hit 1 billion streams \u003ca href=\"https://www.billboard.com/music/pop/mariah-carey-all-i-want-for-christmas-is-you-1-billion-streams-1235013842/\">last December\u003c/a>.\u003c/p>\n\u003cp>This latest milestone gives Carey a slew of additional bragging rights, if you run the numbers (which Billboard did).\u003c/p>\n\u003cp>It extends her record for the longest span of an artist ranking at No. 1 on the chart to 32 years, four months and three weeks (her debut single “Vision of Love” first made its ascent in Aug. 1990).\u003c/p>\n\u003cp>And it gives her a \u003ca href=\"https://twitter.com/billboardcharts/status/1602379484606464001?s=20&t=7JKKyPVuXTWg778MTY7EQA\">record 88th week\u003c/a> at No. 1 on the Hot 100, which is more than Rihanna or the Beatles can say.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Carey clearly reigns supreme, just don’t call her \u003cem>the\u003c/em> Queen of Christmas. She \u003ca href=\"https://www.npr.org/2022/11/18/1137714601/mariah-carey-christmas-queen-trademark\">lost her bid to trademark that title\u003c/a> and other related terms last month, after it was challenged by a full-time Christmas singer.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+%27All+I+Want+for+Christmas+Is+You%27+tops+the+charts+every+year+%282022+included%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Latin Identity Became Fodder For Content",
"headTitle": "How Latin Identity Became Fodder For Content | KQED",
"content": "\u003cp>Silky, long, straight hair and lightly tanned skin. Thin, upturned noses and puffy, pouty lips.\u003c/p>\n\u003cp>That’s what a typical Latina looks like, according to the viral TikTok trend “\u003ca href=\"https://www.refinery29.com/en-us/2022/11/11169730/copy-paste-latina-tiktok-trend\">copy-paste Latinas\u003c/a>.” This Eurocentric stereotype ignores the diversity of a group composed of every race, body type and hair texture that exists. The trend erupted in popularity in November, with TikTokers volunteering themselves as models for this combination of exoticized facial features and heavy, glamorous makeup — a callback to the “spicy Latina” cliche.\u003c/p>\n\u003cp>[aside postid='arts_13919834']As one of the fastest-growing demographics in the U.S., Latinos are finally solidifying their presence in popular culture. This newfound attention has its downsides: Creators are using tired tropes to ride the wave of relevance — and some are even misrepresenting themselves as Latino for clout.\u003c/p>\n\u003cp>And although Latinidad is a cultural identity that’s uniquely difficult to define, it’s being widely appropriated as fodder for content creation. Whether it’s the popularization of aesthetics like “\u003ca href=\"https://www.tiktok.com/@amsiedad/video/7117006314991029509?is_copy_url=1&is_from_webapp=v1&q=little%20mexican%20girl%20core&t=1670019670733\">little Mexican girl-core\u003c/a>” or Bad Bunny declaring “\u003ca href=\"https://www.nytimes.com/2022/05/06/arts/music/bad-bunny-un-verano-sin-ti.html\">now everyone wants to be Latino\u003c/a>,” there’s plenty of evidence the issue is pervasive.\u003c/p>\n\u003cp>Such co-opting can start with influencers and celebrities adopting styles associated with Latinidad, like large hoop earrings, or clothes inspired by the Cholo aesthetic derived from Los Angeles Chicano culture. It’s a gateway to adopting stereotypical mannerisms, ways of speaking, and attitudes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While this isn’t as brazen as cultural mimicry like \u003ca href=\"https://www.theguardian.com/fashion/2020/apr/14/blackfishing-black-is-cool-unless-youre-actually-black\">Blackfishing\u003c/a> or \u003ca href=\"https://www.huffpost.com/entry/asianfishing_l_6283c26ee4b0c2dce6557958\">Asianfishing\u003c/a>, Latino-fishing — pretending to be Latino — warps what Latin culture is and who gets to create it.\u003c/p>\n\u003ch3>Latinx identity in mainstream music\u003c/h3>\n\u003cp>If you feel you’re hearing more music in Spanish than ever before, you are. “Latin music,” a category typically associated with genres like reggaeton, dembow and bachata, has seen a surge in popularity since 2015. Revenue and streaming numbers have been climbing steadily, thanks to the commercial success of artists like Bad Bunny, J Balvin, Rauw Alejandro, Maluma and Karol G.\u003c/p>\n\u003cp>Categorizing so many musical styles under one term fails to recognize their variety, individuality and deep historical origins.\u003c/p>\n\u003cp>[aside postid='arts_13919253']“‘Latin music’ is a term that I really hate. I think that it flattens everything that we are about and allows for Latino-fishing to happen because the umbrella term of Latin music encompasses reggaeton and dembow, and it’s mostly misconstrued as [only] that,” says Venezuelan-American poet, writer and music journalist E.R. Pulgar.\u003c/p>\n\u003cp>When commercial entities market “Latin music,” they overlook genres that aren’t lucrative or well-known. Selecting a handful of sounds to represent an entire ethnicity gives an inaccurate picture of who creates “Latin music,” and who listens to it.\u003c/p>\n\u003cp>“When you take away all of that specificity and take away all of that history, you end up with a European wearing gigantic hoops on the cover of the ‘Viva Latino!’ Spotify playlist. And no one questions it,” says Pulgar.\u003c/p>\n\u003cp>They’re referring to Rosalía, a key name in any discussion of Latino-fishing. The Spanish pop star and producer has gained global success from the genre-mashing music she sings in her native tongue, blending elements of bachata, reggaeton, champeta, neoperreo and other Latin genres.\u003c/p>\n\u003cp>The end result is the widespread misconception that Rosalía is Latina. It’s a narrative she’s had plenty of assistance in creating, including her repeated nominations and wins at the Latin Grammys, and her inclusion in Latin music roundups and playlists on streaming services.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0bKH8ehi3X/\u003c/p>\n\u003cp>Critics point to Rosalía’s use of these genres and aesthetics as appropriation, a stark shift away from the flamenco-inspired music that made her famous.\u003c/p>\n\u003cp>‘I don’t know how many times I’ve had to explain to people that Rosalía’s not Latina,” Pulgar says. “It still shocks me. Do you not hear the accent? I don’t know if it’s a lack of [understanding of] geography. I don’t know if it’s the very successful marketing of it all.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.refinery29.com/en-us/2021/07/10583721/is-rosalia-latina\">In an essay for \u003cem>Refinery29\u003c/em>\u003c/a>, Michelle Santiago Cortés cites other celebrities who profited from ethnic and cultural ambiguity, like Enrique Iglesias and Penelope Cruz in the late 1990s.\u003c/p>\n\u003cp>[aside postid='arts_13918498']“We could argue that, in their rise to fame, these individuals took advantage of the work of oppressed people responsible for the Latin Explosion and expanded the audience for Spanish-language music. But that assumes that the music and entertainment industries value Black and brown people, which they do not,” she writes.\u003c/p>\n\u003cp>For a more recent example, take Ariana Grande, who’s been criticized for cultural appropriation like using \u003ca href=\"https://www.newsweek.com/clip-ariana-grandes-changing-accent-confuses-fans-goes-viral-tiktok-1722049\">African American Vernacular English\u003c/a> and sporting \u003ca href=\"https://www.refinery29.com/en-us/2019/01/223146/ariana-grande-fixed-misspelled-japanese-bbq-tattoo\">misinformed kanji tattoos\u003c/a>.\u003c/p>\n\u003cp>Over the years, these corporate attempts at “coolness” have been more \u003ca href=\"https://www.vogue.com/article/the-problem-with-blackfishing-jesy-nelson\">quickly rejected\u003c/a> in the mainstream cultural conversation. Now, on uncurated platforms, misunderstandings of identity have become a trend for anyone to partake in on their social media, without a savvy audience willing to call it out.\u003c/p>\n\u003ch3>The social media trickle-down\u003c/h3>\n\u003cp>The imitation or mockery of identity groups for attention has proved to be a consistent hit with social algorithms. With Latinos, this started \u003cem>within\u003c/em> the community, with videos centering on “hot Cheeto girls” appearing around 2020. The phenomenon painted Latina teenagers in public schools as loud, obnoxious and ghetto.\u003c/p>\n\u003cp>Content like this was an easy win, because creators could appeal to anyone who had witnessed this stereotype. Add in trends like “copy-paste Latinas,” and you set the stage for the promotion of stereotypes and fetishization.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@iluvd3ft0ness/video/7158818343850659118\" data-video-id=\"7158818343850659118\">\n\u003csection>\u003ca title=\"@iluvd3ft0ness\" href=\"https://www.tiktok.com/@iluvd3ft0ness?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@iluvd3ft0ness\u003c/a> they be so pretty bruh😩 \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"♬ My humps - MARLEY NYC\" href=\"https://www.tiktok.com/music/My-humps-6765935697976134406?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ My humps – MARLEY NYC\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Since then, such public inside jokes have evolved. On TikTok, where videos and their respective audio tracks can be plucked for use by other users, an increasing number of viral audios have come from reggaeton songs, or are spoken in Spanish, encouraging users to lip sync or dance along.\u003c/p>\n\u003cp>The popularity of this music gave some users a different idea: Why not make content relating to the songs — like relationships, infidelity, and the well-meme’d concept of being “toxico” in relationships — even if they’re not Latino?\u003c/p>\n\u003cp>Users were especially upset with popular creator Chiara King. Though fluent in Spanish, King is from the U.K. — and made grand statements about Latinas in relationships with hashtags like “latin trend” and “toxica.”\u003c/p>\n\u003cp>In a now-deleted video, King is doing her makeup with the caption “A Latina’s mind 24/7,” while lip syncing an audio about her boyfriend maybe cheating. In the hashtags she wrote, “I’m not Latina but I relate.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@chiaraking/video/7125131196299808006\" data-video-id=\"7125131196299808006\">\n\u003csection>\u003ca title=\"@chiaraking\" href=\"https://www.tiktok.com/@chiaraking?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@chiaraking\u003c/a> The better translated version \u003ca title=\"latintrend\" href=\"https://www.tiktok.com/tag/latintrend?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#latintrend\u003c/a> \u003ca title=\"toxica\" href=\"https://www.tiktok.com/tag/toxica?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#toxica\u003c/a> \u003ca title=\"♬ Con Una Prima Déjame Revisarte El Celular 2 - 👸🏽 Ingrid Laien 💎\" href=\"https://www.tiktok.com/music/Con-Una-Prima-D%C3%A9jame-Revisarte-El-Celular-2-7106867367401048837?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Con Una Prima Déjame Revisarte El Celular 2 – 👸🏽 Ingrid Laien 💎\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>For graduate student and content creator Marlene Ramirez, King’s appropriation felt familiar in a very unwelcome way.\u003c/p>\n\u003cp>“[It was upsetting] to see her, as a white woman, take on these tropes and profit off of them,” she says.“She was presenting Latinas in a very toxic way. I think that was definitely very triggering for me as someone who has had to conform to certain standards of whiteness, especially in the academic and professional space,” Ramirez knows these stereotypes well, but has found them notably more pointed lately.\u003c/p>\n\u003cp>“People want to look like us, people want to copy our culture, and they reduce us to this ‘spicy’ [trope], like we’re emotionally dysregulated,” she adds.\u003c/p>\n\u003cp>[aside postid='arts_13912477']These trends impact how she’s perceived offline, too, she says.\u003c/p>\n\u003cp>“We’re very passionate, but there’s a historical context to it I feel that’s missing. I noticed it in the way that I’ve been perceived these last two years. I feel like I’ve been much more fetishized.”\u003c/p>\n\u003cp>For any cultural group, being reduced to a narrow set of misinformed characteristics is an unwelcome shift from being ignored in the cultural zeitgeist.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for content creators vying for views before their wave of relevance has passed, identity can be merely a costume.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Latin+identity+became+fodder+for+content&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silky, long, straight hair and lightly tanned skin. Thin, upturned noses and puffy, pouty lips.\u003c/p>\n\u003cp>That’s what a typical Latina looks like, according to the viral TikTok trend “\u003ca href=\"https://www.refinery29.com/en-us/2022/11/11169730/copy-paste-latina-tiktok-trend\">copy-paste Latinas\u003c/a>.” This Eurocentric stereotype ignores the diversity of a group composed of every race, body type and hair texture that exists. The trend erupted in popularity in November, with TikTokers volunteering themselves as models for this combination of exoticized facial features and heavy, glamorous makeup — a callback to the “spicy Latina” cliche.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As one of the fastest-growing demographics in the U.S., Latinos are finally solidifying their presence in popular culture. This newfound attention has its downsides: Creators are using tired tropes to ride the wave of relevance — and some are even misrepresenting themselves as Latino for clout.\u003c/p>\n\u003cp>And although Latinidad is a cultural identity that’s uniquely difficult to define, it’s being widely appropriated as fodder for content creation. Whether it’s the popularization of aesthetics like “\u003ca href=\"https://www.tiktok.com/@amsiedad/video/7117006314991029509?is_copy_url=1&is_from_webapp=v1&q=little%20mexican%20girl%20core&t=1670019670733\">little Mexican girl-core\u003c/a>” or Bad Bunny declaring “\u003ca href=\"https://www.nytimes.com/2022/05/06/arts/music/bad-bunny-un-verano-sin-ti.html\">now everyone wants to be Latino\u003c/a>,” there’s plenty of evidence the issue is pervasive.\u003c/p>\n\u003cp>Such co-opting can start with influencers and celebrities adopting styles associated with Latinidad, like large hoop earrings, or clothes inspired by the Cholo aesthetic derived from Los Angeles Chicano culture. It’s a gateway to adopting stereotypical mannerisms, ways of speaking, and attitudes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While this isn’t as brazen as cultural mimicry like \u003ca href=\"https://www.theguardian.com/fashion/2020/apr/14/blackfishing-black-is-cool-unless-youre-actually-black\">Blackfishing\u003c/a> or \u003ca href=\"https://www.huffpost.com/entry/asianfishing_l_6283c26ee4b0c2dce6557958\">Asianfishing\u003c/a>, Latino-fishing — pretending to be Latino — warps what Latin culture is and who gets to create it.\u003c/p>\n\u003ch3>Latinx identity in mainstream music\u003c/h3>\n\u003cp>If you feel you’re hearing more music in Spanish than ever before, you are. “Latin music,” a category typically associated with genres like reggaeton, dembow and bachata, has seen a surge in popularity since 2015. Revenue and streaming numbers have been climbing steadily, thanks to the commercial success of artists like Bad Bunny, J Balvin, Rauw Alejandro, Maluma and Karol G.\u003c/p>\n\u003cp>Categorizing so many musical styles under one term fails to recognize their variety, individuality and deep historical origins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“‘Latin music’ is a term that I really hate. I think that it flattens everything that we are about and allows for Latino-fishing to happen because the umbrella term of Latin music encompasses reggaeton and dembow, and it’s mostly misconstrued as [only] that,” says Venezuelan-American poet, writer and music journalist E.R. Pulgar.\u003c/p>\n\u003cp>When commercial entities market “Latin music,” they overlook genres that aren’t lucrative or well-known. Selecting a handful of sounds to represent an entire ethnicity gives an inaccurate picture of who creates “Latin music,” and who listens to it.\u003c/p>\n\u003cp>“When you take away all of that specificity and take away all of that history, you end up with a European wearing gigantic hoops on the cover of the ‘Viva Latino!’ Spotify playlist. And no one questions it,” says Pulgar.\u003c/p>\n\u003cp>They’re referring to Rosalía, a key name in any discussion of Latino-fishing. The Spanish pop star and producer has gained global success from the genre-mashing music she sings in her native tongue, blending elements of bachata, reggaeton, champeta, neoperreo and other Latin genres.\u003c/p>\n\u003cp>The end result is the widespread misconception that Rosalía is Latina. It’s a narrative she’s had plenty of assistance in creating, including her repeated nominations and wins at the Latin Grammys, and her inclusion in Latin music roundups and playlists on streaming services.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Critics point to Rosalía’s use of these genres and aesthetics as appropriation, a stark shift away from the flamenco-inspired music that made her famous.\u003c/p>\n\u003cp>‘I don’t know how many times I’ve had to explain to people that Rosalía’s not Latina,” Pulgar says. “It still shocks me. Do you not hear the accent? I don’t know if it’s a lack of [understanding of] geography. I don’t know if it’s the very successful marketing of it all.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.refinery29.com/en-us/2021/07/10583721/is-rosalia-latina\">In an essay for \u003cem>Refinery29\u003c/em>\u003c/a>, Michelle Santiago Cortés cites other celebrities who profited from ethnic and cultural ambiguity, like Enrique Iglesias and Penelope Cruz in the late 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We could argue that, in their rise to fame, these individuals took advantage of the work of oppressed people responsible for the Latin Explosion and expanded the audience for Spanish-language music. But that assumes that the music and entertainment industries value Black and brown people, which they do not,” she writes.\u003c/p>\n\u003cp>For a more recent example, take Ariana Grande, who’s been criticized for cultural appropriation like using \u003ca href=\"https://www.newsweek.com/clip-ariana-grandes-changing-accent-confuses-fans-goes-viral-tiktok-1722049\">African American Vernacular English\u003c/a> and sporting \u003ca href=\"https://www.refinery29.com/en-us/2019/01/223146/ariana-grande-fixed-misspelled-japanese-bbq-tattoo\">misinformed kanji tattoos\u003c/a>.\u003c/p>\n\u003cp>Over the years, these corporate attempts at “coolness” have been more \u003ca href=\"https://www.vogue.com/article/the-problem-with-blackfishing-jesy-nelson\">quickly rejected\u003c/a> in the mainstream cultural conversation. Now, on uncurated platforms, misunderstandings of identity have become a trend for anyone to partake in on their social media, without a savvy audience willing to call it out.\u003c/p>\n\u003ch3>The social media trickle-down\u003c/h3>\n\u003cp>The imitation or mockery of identity groups for attention has proved to be a consistent hit with social algorithms. With Latinos, this started \u003cem>within\u003c/em> the community, with videos centering on “hot Cheeto girls” appearing around 2020. The phenomenon painted Latina teenagers in public schools as loud, obnoxious and ghetto.\u003c/p>\n\u003cp>Content like this was an easy win, because creators could appeal to anyone who had witnessed this stereotype. Add in trends like “copy-paste Latinas,” and you set the stage for the promotion of stereotypes and fetishization.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@iluvd3ft0ness/video/7158818343850659118\" data-video-id=\"7158818343850659118\">\n\u003csection>\u003ca title=\"@iluvd3ft0ness\" href=\"https://www.tiktok.com/@iluvd3ft0ness?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@iluvd3ft0ness\u003c/a> they be so pretty bruh😩 \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"♬ My humps - MARLEY NYC\" href=\"https://www.tiktok.com/music/My-humps-6765935697976134406?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ My humps – MARLEY NYC\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, such public inside jokes have evolved. On TikTok, where videos and their respective audio tracks can be plucked for use by other users, an increasing number of viral audios have come from reggaeton songs, or are spoken in Spanish, encouraging users to lip sync or dance along.\u003c/p>\n\u003cp>The popularity of this music gave some users a different idea: Why not make content relating to the songs — like relationships, infidelity, and the well-meme’d concept of being “toxico” in relationships — even if they’re not Latino?\u003c/p>\n\u003cp>Users were especially upset with popular creator Chiara King. Though fluent in Spanish, King is from the U.K. — and made grand statements about Latinas in relationships with hashtags like “latin trend” and “toxica.”\u003c/p>\n\u003cp>In a now-deleted video, King is doing her makeup with the caption “A Latina’s mind 24/7,” while lip syncing an audio about her boyfriend maybe cheating. In the hashtags she wrote, “I’m not Latina but I relate.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@chiaraking/video/7125131196299808006\" data-video-id=\"7125131196299808006\">\n\u003csection>\u003ca title=\"@chiaraking\" href=\"https://www.tiktok.com/@chiaraking?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@chiaraking\u003c/a> The better translated version \u003ca title=\"latintrend\" href=\"https://www.tiktok.com/tag/latintrend?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#latintrend\u003c/a> \u003ca title=\"toxica\" href=\"https://www.tiktok.com/tag/toxica?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#toxica\u003c/a> \u003ca title=\"♬ Con Una Prima Déjame Revisarte El Celular 2 - 👸🏽 Ingrid Laien 💎\" href=\"https://www.tiktok.com/music/Con-Una-Prima-D%C3%A9jame-Revisarte-El-Celular-2-7106867367401048837?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Con Una Prima Déjame Revisarte El Celular 2 – 👸🏽 Ingrid Laien 💎\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For graduate student and content creator Marlene Ramirez, King’s appropriation felt familiar in a very unwelcome way.\u003c/p>\n\u003cp>“[It was upsetting] to see her, as a white woman, take on these tropes and profit off of them,” she says.“She was presenting Latinas in a very toxic way. I think that was definitely very triggering for me as someone who has had to conform to certain standards of whiteness, especially in the academic and professional space,” Ramirez knows these stereotypes well, but has found them notably more pointed lately.\u003c/p>\n\u003cp>“People want to look like us, people want to copy our culture, and they reduce us to this ‘spicy’ [trope], like we’re emotionally dysregulated,” she adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These trends impact how she’s perceived offline, too, she says.\u003c/p>\n\u003cp>“We’re very passionate, but there’s a historical context to it I feel that’s missing. I noticed it in the way that I’ve been perceived these last two years. I feel like I’ve been much more fetishized.”\u003c/p>\n\u003cp>For any cultural group, being reduced to a narrow set of misinformed characteristics is an unwelcome shift from being ignored in the cultural zeitgeist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for content creators vying for views before their wave of relevance has passed, identity can be merely a costume.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Latin+identity+became+fodder+for+content&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Looking For a Twist on the Whodunit? Two Mysteries Veer Into Uncharted Territory",
"headTitle": "Looking For a Twist on the Whodunit? Two Mysteries Veer Into Uncharted Territory | KQED",
"content": "\u003cp>For holiday gift-giving or reading, I’ve got two non-traditional mysteries to recommend: One is genre-bending; the other features a detective who specializes in underwater investigations.\u003c/p>\n\u003cp>Jane Smiley has been a shape-shifter all throughout her long career: Her fiction has spanned domestic dramas like her Pulitzer Prize-winning novel, \u003cem>A Thousand Acres\u003c/em>; to her academic satire, \u003cem>Moo\u003c/em>; to speculative Norse history in \u003cem>The Greenlanders.\u003c/em> Her latest novel is a mash-up of a Western, a serial killer mystery and a feminist erotic romp.\u003c/p>\n\u003cfigure id=\"attachment_13922661\" class=\"wp-caption aligncenter\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/51O67KEiMmL.jpg\" alt=\"A book cover showing a cove on a beach.\" width=\"338\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51O67KEiMmL.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51O67KEiMmL-160x237.jpg 160w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">‘A Dangerous Business,’ by Jane Smiley. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Dangerous Business\u003c/em> is set in Monterey, during the Gold Rush era. Heroine Eliza Ripple is a young widow whose brutish husband was killed in a bar fight. Eliza shed no tears; in fact, she’s happy earning her living in a local bordello. Not since Miss Kitty on \u003cem>Gunsmoke\u003c/em> hosted Marshal Dillon, Chester and Doc every night at the Longbranch Saloon has life in a bawdy house seemed so amiable.\u003c/p>\n\u003cp>[aside postid='arts_13921986']But the atmosphere quickly shifts from risqué to downright risky after two fellow working girls go missing. Eliza’s boss, a madam who exudes the world-weary wisdom of someone who’s been around the block more than once, tells her: “Between you and me, being a woman is a dangerous business, and don’t let anyone tell you otherwise.”\u003c/p>\n\u003cp>Around this same time, Eliza is befriended by another young woman named Jean who offers her services at “The Pearly Gates,” a bordello that “attend[s] to the needs of ladies, not men.” Jean sometimes wears men’s clothes and avails herself of male privileges, like taking Eliza on long walks down to the docks and into the surrounding woodlands. She also introduces Eliza to Edgar Allan Poe’s detective stories, starting with “The Murders in the Rue Morgue.” Soon enough, Eliza and Jean will be emulating Poe’s detective, Monsieur Dupin, as they take it upon themselves to investigate the mystery of the missing girls — a mystery the male authorities in Monterey are content to ignore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The solution to the serial killings turns out to be “utterly unexpected”; but it’s really the story of Eliza that commands attention: a woman stranded at the edge of the Pacific who’s determined to hold onto her newfound autonomy.\u003c/p>\n\u003cfigure id=\"attachment_13922662\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/51fMaH1tRyL.jpg\" alt=\"A book cover with art depicting a large orange octopus under the water with a woman watching on.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Remarkably Bright Creatures,’ by Shelby Van Pelt \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I missed Shelby Van Pelt’s debut novel \u003cem>Remarkably Bright Creatures \u003c/em>when it came out this past May, but its weird premise kept calling to me. An elderly woman named Tova works nights at an aquarium on the Puget Sound; she doesn’t need the job, but scrubbing floors and fish tanks keeps her mind off her teenage son’s disappearance 30 years ago.\u003c/p>\n\u003cp>Watching Tova from his tank is the aquarium’s main attraction — a giant Pacific octopus named Marcellus. One night, Tova frees Marcellus from a near fatal entanglement with a power cord; in return, Marcellus silently resolves to use his knowledge of the sea and his superior memory for faces and objects to help Tova discover the truth about her son’s fate.\u003c/p>\n\u003cp>[aside postid='arts_13921830']I had my doubts about this detecting duo of janitor and tentacled gumshoe: I thought it might be too cute. But, as Marcellus might joke, I was a sucker for thinking so. His voice, which alternates with chapters featuring Tova and other characters, is scornful and sad. Here’s a snippet of Marcellus’ introduction:\u003c/p>\n\u003cblockquote>\u003cp>Each evening, I await the click of the overhead lights, leaving only the glow from the main tank. Not perfect, but close enough.\u003c/p>\n\u003cp>Almost-darkness, like the middle-bottom of the sea. I lived there before I was captured and imprisoned. …\u003c/p>\n\u003cp>I must advise you that our time together may be brief. The plaque [on my tank] states … the average life span of a giant Pacific octopus. Four years. …\u003c/p>\n\u003cp>I was brought here as a juvenile. I shall die here, in this tank. At the very most, one hundred and sixty days remain until my sentence is complete.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Like a noir detective, Marcellus looks the ultimate deadline of death in the eye and doesn’t blink. Both of these strange and freshly-imagined stories go deeper into uncharted territory for the mystery novel.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+a+twist+on+the+whodunit%3F+Two+mysteries+veer+into+uncharted+territory+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For holiday gift-giving or reading, I’ve got two non-traditional mysteries to recommend: One is genre-bending; the other features a detective who specializes in underwater investigations.\u003c/p>\n\u003cp>Jane Smiley has been a shape-shifter all throughout her long career: Her fiction has spanned domestic dramas like her Pulitzer Prize-winning novel, \u003cem>A Thousand Acres\u003c/em>; to her academic satire, \u003cem>Moo\u003c/em>; to speculative Norse history in \u003cem>The Greenlanders.\u003c/em> Her latest novel is a mash-up of a Western, a serial killer mystery and a feminist erotic romp.\u003c/p>\n\u003cfigure id=\"attachment_13922661\" class=\"wp-caption aligncenter\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/51O67KEiMmL.jpg\" alt=\"A book cover showing a cove on a beach.\" width=\"338\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51O67KEiMmL.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51O67KEiMmL-160x237.jpg 160w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">‘A Dangerous Business,’ by Jane Smiley. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Dangerous Business\u003c/em> is set in Monterey, during the Gold Rush era. Heroine Eliza Ripple is a young widow whose brutish husband was killed in a bar fight. Eliza shed no tears; in fact, she’s happy earning her living in a local bordello. Not since Miss Kitty on \u003cem>Gunsmoke\u003c/em> hosted Marshal Dillon, Chester and Doc every night at the Longbranch Saloon has life in a bawdy house seemed so amiable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the atmosphere quickly shifts from risqué to downright risky after two fellow working girls go missing. Eliza’s boss, a madam who exudes the world-weary wisdom of someone who’s been around the block more than once, tells her: “Between you and me, being a woman is a dangerous business, and don’t let anyone tell you otherwise.”\u003c/p>\n\u003cp>Around this same time, Eliza is befriended by another young woman named Jean who offers her services at “The Pearly Gates,” a bordello that “attend[s] to the needs of ladies, not men.” Jean sometimes wears men’s clothes and avails herself of male privileges, like taking Eliza on long walks down to the docks and into the surrounding woodlands. She also introduces Eliza to Edgar Allan Poe’s detective stories, starting with “The Murders in the Rue Morgue.” Soon enough, Eliza and Jean will be emulating Poe’s detective, Monsieur Dupin, as they take it upon themselves to investigate the mystery of the missing girls — a mystery the male authorities in Monterey are content to ignore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The solution to the serial killings turns out to be “utterly unexpected”; but it’s really the story of Eliza that commands attention: a woman stranded at the edge of the Pacific who’s determined to hold onto her newfound autonomy.\u003c/p>\n\u003cfigure id=\"attachment_13922662\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/51fMaH1tRyL.jpg\" alt=\"A book cover with art depicting a large orange octopus under the water with a woman watching on.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Remarkably Bright Creatures,’ by Shelby Van Pelt \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I missed Shelby Van Pelt’s debut novel \u003cem>Remarkably Bright Creatures \u003c/em>when it came out this past May, but its weird premise kept calling to me. An elderly woman named Tova works nights at an aquarium on the Puget Sound; she doesn’t need the job, but scrubbing floors and fish tanks keeps her mind off her teenage son’s disappearance 30 years ago.\u003c/p>\n\u003cp>Watching Tova from his tank is the aquarium’s main attraction — a giant Pacific octopus named Marcellus. One night, Tova frees Marcellus from a near fatal entanglement with a power cord; in return, Marcellus silently resolves to use his knowledge of the sea and his superior memory for faces and objects to help Tova discover the truth about her son’s fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I had my doubts about this detecting duo of janitor and tentacled gumshoe: I thought it might be too cute. But, as Marcellus might joke, I was a sucker for thinking so. His voice, which alternates with chapters featuring Tova and other characters, is scornful and sad. Here’s a snippet of Marcellus’ introduction:\u003c/p>\n\u003cblockquote>\u003cp>Each evening, I await the click of the overhead lights, leaving only the glow from the main tank. Not perfect, but close enough.\u003c/p>\n\u003cp>Almost-darkness, like the middle-bottom of the sea. I lived there before I was captured and imprisoned. …\u003c/p>\n\u003cp>I must advise you that our time together may be brief. The plaque [on my tank] states … the average life span of a giant Pacific octopus. Four years. …\u003c/p>\n\u003cp>I was brought here as a juvenile. I shall die here, in this tank. At the very most, one hundred and sixty days remain until my sentence is complete.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Like a noir detective, Marcellus looks the ultimate deadline of death in the eye and doesn’t blink. Both of these strange and freshly-imagined stories go deeper into uncharted territory for the mystery novel.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+a+twist+on+the+whodunit%3F+Two+mysteries+veer+into+uncharted+territory+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Golden Globe Nominations Are Led by ‘Banshees,’ ‘Everything Everywhere’",
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"content": "\u003cp>After scandal and boycott plunged the Hollywood Foreign Press Association into disarray and knocked its annual award show off television for a year, the Golden Globes geared up Monday for its return by showering nominations on the black comedy \u003cem>The Banshees of Inisherin\u003c/em> and the multiverse mash-up \u003cem>Everything Everywhere All at Once\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920702']Nominations were read by Mayan Lopez and Selenis Leyva on NBC’s \u003cem>Today\u003c/em> morning show.\u003c/p>\n\u003cp>The nominees for best film, drama, are: \u003cem>The Fabelmans\u003c/em>, \u003cem>Top Gun: Maverick\u003c/em>, \u003cem>Elvis\u003c/em>, \u003cem>Tár\u003c/em> and \u003cem>Avatar: The Way of Water.\u003c/em>\u003c/p>\n\u003cp>The nominees for best film, comedy or musical, are: \u003cem>The Banshees of Inisherin\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em>, \u003cem>Glass Onion: A Knives Out Mystery\u003c/em>, \u003cem>Babylon\u003c/em> and \u003cem>Triangle of Sadness\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13922633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ap22342673136312_wide-6d7539f18653cf3d4ba249c293efa57a7726e824-800x450.jpg\" alt=\"An older man sits dejected on a simple wooden chair inside a cottage. Outside his window, another man stares inside, looking concerned.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Brendan Gleeson in ‘The Banshees of Inisherin.’ \u003ccite>(Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin McDonagh’s feuding friends tale \u003cem>The Banshees of Inisherin\u003c/em> led all films with eight nominations, including nods for actors Colin Farrell, Brendan Gleeson, Kerry Condon and Barry Keoghan. Daniel Kwan and Daniel Scheinert’s existential action comedy \u003cem>Everything Everywhere All at Once\u003c/em> came in second with six nominations, including nods for Michelle Yeoh, \u003ca href=\"https://apnews.com/article/ke-huy-quan-interview-everything-everywhere-spielberg-ab2601e87b405370853ce1ab12bf5dc2\">Ke Huy Quan\u003c/a> and Jamie Lee Curtis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the nominees for best actor in a drama is Brendan Fraser. Fraser has said he won’t attend the Globes after he said he was groped in 2003 by Philip Berk, a former HFPA member and former president of the organization.\u003c/p>\n\u003cp>[aside postid='arts_13911775']The Globes will be telecast Jan. 10, with \u003ca href=\"https://apnews.com/article/jerrod-carmichael-golden-globes-host-2023-d60e244c609ad4cf23a6789fdeab6a68\">stand-up comedian Jerrod Carmichael hosting.\u003c/a>\u003c/p>\n\u003cp>The Globes are trying to mount a comeback this year. A \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\">\u003cem>Los Angeles Times\u003c/em> investigation in early 2021\u003c/a> found that the group then had no Black members, a revelation compounded by other allegations of ethical improprieties. Many stars and studios said they would boycott the show. Tom Cruise returned his three Globes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NBC last year canceled the telecast that would have taken place this past January. Instead, the Golden Globes were \u003ca href=\"https://apnews.com/article/golden-globe-awards-7807652153518b2df70e636dd22654c2\">quietly held in a Beverly Hilton ballroom without any stars in attendance\u003c/a>. Winners were announced on Twitter.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+nominations+are+led+by+%27Banshees%2C%27+%27Everything+Everywhere%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nominations were read by Mayan Lopez and Selenis Leyva on NBC’s \u003cem>Today\u003c/em> morning show.\u003c/p>\n\u003cp>The nominees for best film, drama, are: \u003cem>The Fabelmans\u003c/em>, \u003cem>Top Gun: Maverick\u003c/em>, \u003cem>Elvis\u003c/em>, \u003cem>Tár\u003c/em> and \u003cem>Avatar: The Way of Water.\u003c/em>\u003c/p>\n\u003cp>The nominees for best film, comedy or musical, are: \u003cem>The Banshees of Inisherin\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em>, \u003cem>Glass Onion: A Knives Out Mystery\u003c/em>, \u003cem>Babylon\u003c/em> and \u003cem>Triangle of Sadness\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13922633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ap22342673136312_wide-6d7539f18653cf3d4ba249c293efa57a7726e824-800x450.jpg\" alt=\"An older man sits dejected on a simple wooden chair inside a cottage. Outside his window, another man stares inside, looking concerned.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Brendan Gleeson in ‘The Banshees of Inisherin.’ \u003ccite>(Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin McDonagh’s feuding friends tale \u003cem>The Banshees of Inisherin\u003c/em> led all films with eight nominations, including nods for actors Colin Farrell, Brendan Gleeson, Kerry Condon and Barry Keoghan. Daniel Kwan and Daniel Scheinert’s existential action comedy \u003cem>Everything Everywhere All at Once\u003c/em> came in second with six nominations, including nods for Michelle Yeoh, \u003ca href=\"https://apnews.com/article/ke-huy-quan-interview-everything-everywhere-spielberg-ab2601e87b405370853ce1ab12bf5dc2\">Ke Huy Quan\u003c/a> and Jamie Lee Curtis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Globes will be telecast Jan. 10, with \u003ca href=\"https://apnews.com/article/jerrod-carmichael-golden-globes-host-2023-d60e244c609ad4cf23a6789fdeab6a68\">stand-up comedian Jerrod Carmichael hosting.\u003c/a>\u003c/p>\n\u003cp>The Globes are trying to mount a comeback this year. A \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\">\u003cem>Los Angeles Times\u003c/em> investigation in early 2021\u003c/a> found that the group then had no Black members, a revelation compounded by other allegations of ethical improprieties. Many stars and studios said they would boycott the show. Tom Cruise returned his three Globes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NBC last year canceled the telecast that would have taken place this past January. Instead, the Golden Globes were \u003ca href=\"https://apnews.com/article/golden-globe-awards-7807652153518b2df70e636dd22654c2\">quietly held in a Beverly Hilton ballroom without any stars in attendance\u003c/a>. Winners were announced on Twitter.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+nominations+are+led+by+%27Banshees%2C%27+%27Everything+Everywhere%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The young heroes of Carlo Collodi’s classic fantasy \u003cem>Pinocchio\u003c/em> and Roald Dahl’s 1988 children’s novel \u003cem>Matilda\u003c/em> may not seem too alike at first: One is a wooden puppet who becomes a real boy and finds he has a lot to learn, while the other is a real girl of such extraordinary brainpower that she winds up schooling everyone else. But in their own ways, they’re both about a child’s extraordinary power to change the world — a lesson that stays winningly intact in two new screen adaptations, both arriving on Netflix this month.\u003c/p>\n\u003cp>[aside postid='arts_13922425']\u003cem>Guillermo del Toro’s Pinocchio\u003c/em>, as its title announces, is very much the work of the dark fantasist who made \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10266161\">Pan’s Labyrinth\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/01/567265511/guillermo-del-toro-says-shape-of-water-is-an-antidote-for-today-s-cynicism\">The Shape of Water.\u003c/a> That’s not to say it’s too scary for children, only that its mix of visual richness and ghoulish whimsy would be hard to mistake for another filmmaker’s work. In this telling, the aging Italian woodcarver Geppetto has a young son who’s killed by a falling missile during World War I. Many years later, Geppetto, still distraught, chops down a pine tree in a drunken rage and carves a little puppet boy out of it, as if he could somehow bring his son back. And so this Pinocchio, forged in grief, springs to life not as a joyous creation, but as a sorry replacement for Geppetto’s lost son. That gives Pinocchio’s mischievous, defiant behavior an extra emotional edge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Od2NW1sfRdA\u003c/p>\n\u003cp>Del Toro, who directed the movie with Mark Gustafson, has also darkened the story in other ways. This Pinocchio, who’s voiced by Gregory Mann, dies on multiple occasions and is magically resurrected each time. World War II also looms in the background, and Pinocchio will soon come face-to-face with Mussolini himself. It’s not the first time Del Toro has blended history and fantasy, pitting his young characters against the forces of Fascism.\u003c/p>\n\u003cp>It is, however, the first time he’s made a feature entirely in stop-motion animation, and the hand-crafted, herky-jerky images are a wonder to behold. The backdrops are exquisite, and I loved the intricate non-human character designs for a benevolent woodland sprite, voiced by Tilda Swinton, and for Sebastian J. Cricket, a kind of Jiminy-like sidekick voiced by Ewan McGregor. Still, for all its overflowing invention, this \u003cem>Pinocchio\u003c/em>, like a lot of Del Toro movies, could’ve been tighter and more disciplined. I’m also not sure why the movie had to be a musical, given how unmemorable most of the songs are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, the songs in the new movie \u003cem>Roald Dahl’s Matilda the Musical\u003c/em> are as terrific as they were when I heard them \u003ca href=\"https://www.npr.org/2013/04/11/176704420/matilda-brings-beloved-book-to-broadway\">performed on Broadway\u003c/a> years ago. The movie is an extremely faithful adaptation of that hugely popular show. It tells the story of Matilda Wormwood, a child prodigy who’s already reading Dickens and Dostoevsky by age 6.\u003c/p>\n\u003cp>[aside postid='arts_13891275']Much of the pleasure of the story comes from watching Matilda — the winning Alisha Weir — get revenge on her foolish, vulgar and generally indifferent parents whenever they treat her badly, which is often. But Matilda will soon have bigger fish to fry in the form of Miss Trunchbull, the sadistic headmistress at her school, who terrifies her students and calls them “maggots.” In one showstopping number, Matilda’s fellow students manage to overcome their fears and rise up, declaring their right to be, as they call themselves, “Revolting Children.”\u003c/p>\n\u003cp>Miss Trunchbull is played, with the help of a fatsuit and facial prosthetics, by Emma Thompson, and she’s a memorable monster, subjecting her students to all kinds of cruel mind games and baroque forms of corporal punishment. It’s fun watching Matilda outwit her, while also bonding with her kind-hearted teacher, Miss Honey — a very moving Lashana Lynch.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzKASl2T9d0\u003c/p>\n\u003cp>The movie retains the show’s central creative trio: the director Matthew Warchus, the writer Dennis Kelly and the composer-lyricist Tim Minchin. That’s mostly a good thing, even if the movie’s relentless high spirits and bright, bouncy colors tend to overpower the darker vibes of the original story. There are also elements here that simply don’t work as well onscreen as they did onstage, including a subplot that takes place within Matilda’s own imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I have to say, though, that my 6-year-old screening companion didn’t mind in the slightest: I looked over every so often to find her laughing at the jokes, covering her eyes at the scary parts and bopping along to the music. She was completely transported — and so, in those moments, was I.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Kids+really+can+change+the+world+%E2%80%94+just+ask+%27Pinocchio%27+and+%27Matilda%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The young heroes of Carlo Collodi’s classic fantasy \u003cem>Pinocchio\u003c/em> and Roald Dahl’s 1988 children’s novel \u003cem>Matilda\u003c/em> may not seem too alike at first: One is a wooden puppet who becomes a real boy and finds he has a lot to learn, while the other is a real girl of such extraordinary brainpower that she winds up schooling everyone else. But in their own ways, they’re both about a child’s extraordinary power to change the world — a lesson that stays winningly intact in two new screen adaptations, both arriving on Netflix this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Guillermo del Toro’s Pinocchio\u003c/em>, as its title announces, is very much the work of the dark fantasist who made \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10266161\">Pan’s Labyrinth\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/01/567265511/guillermo-del-toro-says-shape-of-water-is-an-antidote-for-today-s-cynicism\">The Shape of Water.\u003c/a> That’s not to say it’s too scary for children, only that its mix of visual richness and ghoulish whimsy would be hard to mistake for another filmmaker’s work. In this telling, the aging Italian woodcarver Geppetto has a young son who’s killed by a falling missile during World War I. Many years later, Geppetto, still distraught, chops down a pine tree in a drunken rage and carves a little puppet boy out of it, as if he could somehow bring his son back. And so this Pinocchio, forged in grief, springs to life not as a joyous creation, but as a sorry replacement for Geppetto’s lost son. That gives Pinocchio’s mischievous, defiant behavior an extra emotional edge.\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/Od2NW1sfRdA'\n title='//www.youtube.com/embed/Od2NW1sfRdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Del Toro, who directed the movie with Mark Gustafson, has also darkened the story in other ways. This Pinocchio, who’s voiced by Gregory Mann, dies on multiple occasions and is magically resurrected each time. World War II also looms in the background, and Pinocchio will soon come face-to-face with Mussolini himself. It’s not the first time Del Toro has blended history and fantasy, pitting his young characters against the forces of Fascism.\u003c/p>\n\u003cp>It is, however, the first time he’s made a feature entirely in stop-motion animation, and the hand-crafted, herky-jerky images are a wonder to behold. The backdrops are exquisite, and I loved the intricate non-human character designs for a benevolent woodland sprite, voiced by Tilda Swinton, and for Sebastian J. Cricket, a kind of Jiminy-like sidekick voiced by Ewan McGregor. Still, for all its overflowing invention, this \u003cem>Pinocchio\u003c/em>, like a lot of Del Toro movies, could’ve been tighter and more disciplined. I’m also not sure why the movie had to be a musical, given how unmemorable most of the songs are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, the songs in the new movie \u003cem>Roald Dahl’s Matilda the Musical\u003c/em> are as terrific as they were when I heard them \u003ca href=\"https://www.npr.org/2013/04/11/176704420/matilda-brings-beloved-book-to-broadway\">performed on Broadway\u003c/a> years ago. The movie is an extremely faithful adaptation of that hugely popular show. It tells the story of Matilda Wormwood, a child prodigy who’s already reading Dickens and Dostoevsky by age 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of the pleasure of the story comes from watching Matilda — the winning Alisha Weir — get revenge on her foolish, vulgar and generally indifferent parents whenever they treat her badly, which is often. But Matilda will soon have bigger fish to fry in the form of Miss Trunchbull, the sadistic headmistress at her school, who terrifies her students and calls them “maggots.” In one showstopping number, Matilda’s fellow students manage to overcome their fears and rise up, declaring their right to be, as they call themselves, “Revolting Children.”\u003c/p>\n\u003cp>Miss Trunchbull is played, with the help of a fatsuit and facial prosthetics, by Emma Thompson, and she’s a memorable monster, subjecting her students to all kinds of cruel mind games and baroque forms of corporal punishment. It’s fun watching Matilda outwit her, while also bonding with her kind-hearted teacher, Miss Honey — a very moving Lashana Lynch.\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/EzKASl2T9d0'\n title='//www.youtube.com/embed/EzKASl2T9d0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie retains the show’s central creative trio: the director Matthew Warchus, the writer Dennis Kelly and the composer-lyricist Tim Minchin. That’s mostly a good thing, even if the movie’s relentless high spirits and bright, bouncy colors tend to overpower the darker vibes of the original story. There are also elements here that simply don’t work as well onscreen as they did onstage, including a subplot that takes place within Matilda’s own imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I have to say, though, that my 6-year-old screening companion didn’t mind in the slightest: I looked over every so often to find her laughing at the jokes, covering her eyes at the scary parts and bopping along to the music. She was completely transported — and so, in those moments, was I.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Kids+really+can+change+the+world+%E2%80%94+just+ask+%27Pinocchio%27+and+%27Matilda%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It’s Thumbs-Down in the UK For Harry and Meghan’s Netflix Series",
"headTitle": "It’s Thumbs-Down in the UK For Harry and Meghan’s Netflix Series | KQED",
"content": "\u003cp>Reviews for the new Netflix series \u003cem>Harry & Meghan\u003c/em>, by Prince Harry and Meghan, the Duchess of Sussex, have been withering in the British press. This is not surprising, given that the couple spends much of the first three episodes attacking Britain’s notorious tabloid media for invading their privacy and some coverage that traded in racist tropes.\u003c/p>\n\u003cp>[aside postid='arts_13919284']Some U.K. newspapers responded in kind to the first three episodes of six. \u003cem>The Telegraph\u003c/em> called the series a “very \u003ca href=\"https://www.telegraph.co.uk/opinion/2022/12/08/sussexes-documentary-californian-exercise-grievance/\">Californian exercise in grievance\u003c/a>.”\u003c/p>\n\u003cp>The \u003cem>Spectator \u003c/em>magazine called it a “\u003ca href=\"https://www.spectator.co.uk/article/harry-and-meghans-netflix-show-is-a-tedious-narcissistic-wallow/\">tedious, narcissistic wallow\u003c/a>.”\u003c/p>\n\u003cp>The criticism, however, did not just come from the political right. Britain’s \u003cem>Guardian\u003c/em>, which is liberal and more likely to be sympathetic to the couple’s politics, called the series “a \u003ca href=\"https://www.theguardian.com/tv-and-radio/live/2022/dec/08/harry-meghan-netflix-documentary-royal-family-media-reaction-live-updates?page=with:block-6391d0888f08f54ad0692bd6\">one-sided PR effort\u003c/a>.”\u003c/p>\n\u003cp>Across the water in Ireland — no fan of the British monarchy — the \u003cem>Irish Times\u003c/em> described the first three hours as “a sometimes unwatchable \u003ca href=\"https://www.irishtimes.com/culture/tv-radio/2022/12/08/harry-meghan-a-heartfelt-gloopy-and-sometimes-unwatchable-plunge-into-planet-sussex/\">plunge into Planet Sussex\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series contains no revelations. Instead, it’s an expanded version of the couple’s perspective on why they left the Royal family nearly two years ago. The couple and their Archewell foundation employees focus on the Royal family’s co-dependent relationship with Britain’s press and the human toll it takes. Tim Burt, who does strategic communications for the foundation, describes the unwritten contract.\u003c/p>\n\u003cp>“The taxpayer in the U.K. pays for the royal family and in return for those payments, there is an expectation that the Royal family will be available to the media,” says Burt, “and this is a sense of ‘We pay, you pose.’ ”\u003c/p>\n\u003cp>[aside postid='arts_13866072']Harry sees this as a power struggle.\u003c/p>\n\u003cp>“It all comes down to control,” he says. “It’s like this family is ours to exploit. Their trauma is our story and our narrative to control\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>The first episode covers the couple’s secret courtship and romance, which struck a chord with some viewers.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’ve always been ‘Team Harry and Meghan,’ ” said Ateh Jewell, who writes about the beauty industry, speaking on Britain’s ITV on Thursday. “She’s been painted as a scheming, predatory, prince-hunting woman. And I think the first episode shows that they have a deep love, a \u003ca href=\"https://www.youtube.com/watch?v=QZ5ai4pSw98\">friendship and a connection\u003c/a>.”\u003c/p>\n\u003cp>The “Team Harry” framing highlights the polarizing effect the couple have here. Their supporters see them as principled activists who have called out racism in Britain and the Royal family at great personal cost. Their detractors see them as complainers and ingrates who turned their back on the country after it welcomed Meghan and threw the couple a spectacular wedding at Windsor Castle in 2018.\u003c/p>\n\u003cp>Opinion on Prince Harry in his homeland is divided. A few years ago, he was among the most popular royals, with ratings that rivaled his late grandmother, Queen Elizabeth. Today his popularity \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Harry_Duke_of_Sussex\">sits at just 38%\u003c/a>, according to research firm YouGov.\u003c/p>\n\u003cp>Only \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Meghan_Duchess_of_Sussex\">27% of people here\u003c/a> like Meghan, according to YouGov, while a slight majority don’t.\u003c/p>\n\u003cp>[aside postid='arts_13893693']Among them is Jan Veale, a retired hairdresser from Devon, in southwest England. Veale doesn’t like the couple and plans to hate-watch the series.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I am glad they’ve made it, because I don’t like what they’ve done to the Royal family,” said Veale, while strolling around London’s Covent Garden on Thursday looking at the Christmas lights. “I think this will make people hate them even more and I’m glad of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR London producer Morgan Ayre contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+thumbs-down+in+the+U.K.+for+Harry+and+Meghan%27s+Netflix+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reviews for the new Netflix series \u003cem>Harry & Meghan\u003c/em>, by Prince Harry and Meghan, the Duchess of Sussex, have been withering in the British press. This is not surprising, given that the couple spends much of the first three episodes attacking Britain’s notorious tabloid media for invading their privacy and some coverage that traded in racist tropes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some U.K. newspapers responded in kind to the first three episodes of six. \u003cem>The Telegraph\u003c/em> called the series a “very \u003ca href=\"https://www.telegraph.co.uk/opinion/2022/12/08/sussexes-documentary-californian-exercise-grievance/\">Californian exercise in grievance\u003c/a>.”\u003c/p>\n\u003cp>The \u003cem>Spectator \u003c/em>magazine called it a “\u003ca href=\"https://www.spectator.co.uk/article/harry-and-meghans-netflix-show-is-a-tedious-narcissistic-wallow/\">tedious, narcissistic wallow\u003c/a>.”\u003c/p>\n\u003cp>The criticism, however, did not just come from the political right. Britain’s \u003cem>Guardian\u003c/em>, which is liberal and more likely to be sympathetic to the couple’s politics, called the series “a \u003ca href=\"https://www.theguardian.com/tv-and-radio/live/2022/dec/08/harry-meghan-netflix-documentary-royal-family-media-reaction-live-updates?page=with:block-6391d0888f08f54ad0692bd6\">one-sided PR effort\u003c/a>.”\u003c/p>\n\u003cp>Across the water in Ireland — no fan of the British monarchy — the \u003cem>Irish Times\u003c/em> described the first three hours as “a sometimes unwatchable \u003ca href=\"https://www.irishtimes.com/culture/tv-radio/2022/12/08/harry-meghan-a-heartfelt-gloopy-and-sometimes-unwatchable-plunge-into-planet-sussex/\">plunge into Planet Sussex\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series contains no revelations. Instead, it’s an expanded version of the couple’s perspective on why they left the Royal family nearly two years ago. The couple and their Archewell foundation employees focus on the Royal family’s co-dependent relationship with Britain’s press and the human toll it takes. Tim Burt, who does strategic communications for the foundation, describes the unwritten contract.\u003c/p>\n\u003cp>“The taxpayer in the U.K. pays for the royal family and in return for those payments, there is an expectation that the Royal family will be available to the media,” says Burt, “and this is a sense of ‘We pay, you pose.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harry sees this as a power struggle.\u003c/p>\n\u003cp>“It all comes down to control,” he says. “It’s like this family is ours to exploit. Their trauma is our story and our narrative to control\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>The first episode covers the couple’s secret courtship and romance, which struck a chord with some viewers.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’ve always been ‘Team Harry and Meghan,’ ” said Ateh Jewell, who writes about the beauty industry, speaking on Britain’s ITV on Thursday. “She’s been painted as a scheming, predatory, prince-hunting woman. And I think the first episode shows that they have a deep love, a \u003ca href=\"https://www.youtube.com/watch?v=QZ5ai4pSw98\">friendship and a connection\u003c/a>.”\u003c/p>\n\u003cp>The “Team Harry” framing highlights the polarizing effect the couple have here. Their supporters see them as principled activists who have called out racism in Britain and the Royal family at great personal cost. Their detractors see them as complainers and ingrates who turned their back on the country after it welcomed Meghan and threw the couple a spectacular wedding at Windsor Castle in 2018.\u003c/p>\n\u003cp>Opinion on Prince Harry in his homeland is divided. A few years ago, he was among the most popular royals, with ratings that rivaled his late grandmother, Queen Elizabeth. Today his popularity \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Harry_Duke_of_Sussex\">sits at just 38%\u003c/a>, according to research firm YouGov.\u003c/p>\n\u003cp>Only \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Meghan_Duchess_of_Sussex\">27% of people here\u003c/a> like Meghan, according to YouGov, while a slight majority don’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Among them is Jan Veale, a retired hairdresser from Devon, in southwest England. Veale doesn’t like the couple and plans to hate-watch the series.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I am glad they’ve made it, because I don’t like what they’ve done to the Royal family,” said Veale, while strolling around London’s Covent Garden on Thursday looking at the Christmas lights. “I think this will make people hate them even more and I’m glad of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR London producer Morgan Ayre contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+thumbs-down+in+the+U.K.+for+Harry+and+Meghan%27s+Netflix+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>ASTORIA, Ore. — The listing agent for the Victorian home featured in the \u003cem>The Goonies\u003c/em> film in Astoria, Oregon, said this week the likely new owner is a fan of the classic coming-of-age movie about friendships and treasure hunting, and he promises to preserve and protect the landmark.\u003c/p>\n\u003cp>[aside postid='arts_13878444']The 1896 home with sweeping views of the Columbia River flowing into the Pacific Ocean was listed in November with an asking price of nearly $1.7 million.\u003c/p>\n\u003cp>Jordan Miller of John L. Scott Real Estate said the sale is expected to close in mid January, The Oregonian/OregonLive \u003ca href=\"https://www.oregonlive.com/realestate/2022/12/goonies-house-in-astoria-sells-to-a-fan-who-wants-to-protect-the-landmark.html\">reported\u003c/a>. The new owner, a self-described serial entrepreneur, will make his name known at that time, Miller said.\u003c/p>\n\u003cp>Since the movie came to theaters in 1985, fans have flocked to the home in northwestern Oregon’s historic port of Astoria. The city celebrates Goonies Day on June 7, the film’s release date, and welcomes thousands of people for the event.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kr_z37TgQO4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An offer was accepted six days after the house was listed, according to public record.\u003c/p>\n\u003cp>“After the word spread that the property was for sale, we received multiple offers, at asking price and higher, and we have a full backup offer,” Miller said.\u003c/p>\n\u003cp>Seller Sandi Preston is passing along movie memorabilia she has collected or has been given, and some of the furniture in the home, restored to its original 1896 style, may also be sold to the buyer, according to Miller.\u003c/p>\n\u003cp>[aside postid='pop_97337']Preston was known to be largely welcoming to visitors. But she lived in the house and the constant crowds were a strain that prompted her at times to close it to foot traffic.\u003c/p>\n\u003cp>After the film’s 30th anniversary drew about 1,500 daily visitors in 2015, Preston posted “no trespassing” signs prohibiting tourists from walking up to the property. She reopened it to the public in August.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Based on a story by Steven Spielberg, the film features a group of friends fighting to protect their homes from an expanding country club and threats of foreclosure. In the process, they discover an old treasure map that leads them on an adventure and allows them to save their “Goon Docks” neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+fan+is+reportedly+buying+the+%27Goonies%27+house+in+Oregon%2C+which+was+listed+for+%241.7M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Preston was known to be largely welcoming to visitors. But she lived in the house and the constant crowds were a strain that prompted her at times to close it to foot traffic.\u003c/p>\n\u003cp>After the film’s 30th anniversary drew about 1,500 daily visitors in 2015, Preston posted “no trespassing” signs prohibiting tourists from walking up to the property. She reopened it to the public in August.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Based on a story by Steven Spielberg, the film features a group of friends fighting to protect their homes from an expanding country club and threats of foreclosure. In the process, they discover an old treasure map that leads them on an adventure and allows them to save their “Goon Docks” neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+fan+is+reportedly+buying+the+%27Goonies%27+house+in+Oregon%2C+which+was+listed+for+%241.7M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first couple times \u003ca href=\"https://www.npr.org/2021/09/01/1031053251/sackler-family-immunity-purdue-pharma-oxcyontin-opioid-epidemic\">I talked with photographer Nan Goldin\u003c/a>, I saw her rage and frustration over the prescription opioid epidemic that derailed her life and killed tens of thousands of Americans.\u003c/p>\n\u003cp>“I’ve never seen such an abuse of justice,” Goldin told me.\u003c/p>\n\u003cp>[aside postid='arts_13828436']She was talking about members of the Sackler family, who own Purdue Pharma, the maker of OxyContin.\u003c/p>\n\u003cp>Goldin herself became addicted to pain pills after surgery. She later came to believe the Sacklers lied about their drug’s safety and were unlikely to be held accountable.\u003c/p>\n\u003cp>“It’s shocking. It’s really shocking. I’ve been deeply depressed and horrified,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I missed in those encounters with Goldin — hidden behind the chain smoking and the weary laugh — was the power, stubbornness and battle-hardened courage that helped her take on the Sacklers.\u003c/p>\n\u003cp>That’s the revelation in the new documentary about Goldin, \u003cem>All the Beauty and the Bloodshed\u003c/em>, out now in limited release. It won the Gold Lion for best film this year at the Venice International Film Festival.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXgF7bskfvo\u003c/p>\n\u003cp>The film by Laura Poitras shows Goldin growing up in an abusive family, surviving foster care and living homeless in New York City.\u003c/p>\n\u003cp>Goldin clawed her way into the art world as one of the rawest, most powerful photographers of her generation. To pay the bills — and cover the cost of film — Goldin often danced in strip clubs and did sex work.\u003c/p>\n\u003cp>“Photography was always a way to walk through fear,” Goldin says in the documentary. “It gave me a reason to be there.”\u003c/p>\n\u003cp>She was later one of the earliest American artists to take on the AIDS epidemic, mounting a show in the late 1980s that drew national attention and controversy.\u003c/p>\n\u003cp>The Sackler family, meanwhile, was growing fabulously wealthy, first by selling Valium and then aggressively marketing OxyContin.\u003c/p>\n\u003cp>Many of the same museums around the world that were beginning to collect Goldin’s photographs were also naming buildings after the Sacklers — in exchange for lavish donations.\u003c/p>\n\u003cp>The collision between the Sacklers and Goldin portrayed in this film came after Goldin’s recovery from years of opioid addiction, a time she describes as “a darkness of the soul.”\u003c/p>\n\u003cp>[aside postid='news_11752071']After reading about the Sacklers’ role pushing OxyContin sales in a \u003ca href=\"https://www.newyorker.com/magazine/2017/10/30/the-family-that-built-an-empire-of-pain\">groundbreaking article in \u003cem>The New Yorker\u003c/em>\u003c/a>, Goldin decided to challenge their carefully curated public image as enlightened philanthropists.\u003c/p>\n\u003cp>“All the museums and institutions need to stop taking money from these corrupt evil bastards,” Goldin says in the documentary, as she helps organize one of the opioid protests that rocked the art world over the last five years.\u003c/p>\n\u003cp>It wasn’t clear Goldin’s campaign would work. The Sacklers ranked among the most widely respected and deeply connected art patrons.\u003c/p>\n\u003cp>“The museums … tried to pretend it wasn’t happening,” said director \u003ca href=\"https://www.npr.org/2022/12/03/1140529085/director-laura-poitras-on-her-new-documentary-all-the-beauty-and-the-bloodshed\">Laura Poitras\u003c/a> in an interview with NPR. “None of them responded.”\u003c/p>\n\u003cp>But Goldin kept pushing, mounting more protests and publishing a scathing personal essay \u003ca href=\"https://www.artforum.com/print/201801/nan-goldin-73181\">in the influential journal \u003cem>Artforum\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“She knew how to use her power. She’s a figure these museums wanted to work with,” says David Velasco, \u003cem>Artforum’\u003c/em>s editor in chief, in the documentary.\u003c/p>\n\u003cfigure id=\"attachment_13922345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1431555730-800x533.jpg\" alt=\"Two women holding microphones sits on basic chairs on stage, looking admiringly at one another.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin and Laura Poitras discuss ‘All the Beauty and the Bloodshed’ onstage at the 60th New York Film Festival. Oct. 2022. \u003ccite>(Theo Wargo/Getty Images for FLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s important to say the Sacklers have long denied any wrongdoing.\u003c/p>\n\u003cp>Their company has twice pleaded guilty to federal criminal charges relating to opioid marketing and Purdue Pharma is now in bankruptcy.\u003c/p>\n\u003cp>But members of the Sackler family who directed the company and profited from opioid sales have never been charged with any crime.\u003c/p>\n\u003cp>While they’ve given up control of their company and are expected to pay billions of dollars as part of a settlement deal, they are likely to retain much of their wealth.\u003c/p>\n\u003cp>They have, however, faced a different kind of accountability.\u003c/p>\n\u003cp>[aside postid='arts_13906024']In bestselling books such as \u003cem>\u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Empire of Pain: The Secret History of the Sackler Dynasty\u003c/a>\u003c/em>, the book and award-winning television series \u003ca href=\"https://www.npr.org/2021/11/08/1051475843/dopesick-hulu-true-story-opioid-addiction\">\u003cem>Dopesick\u003c/em>\u003c/a>, and this new documentary, the Sacklers have faced a kind of public shaming.\u003c/p>\n\u003cp>The Sackler name has been \u003ca href=\"https://www.npr.org/2021/12/09/1062752439/the-met-will-strip-the-sackler-familys-name\">stripped\u003c/a> from buildings and exhibition spaces in the Guggenheim, the Louvre, the Met, and other top cultural and educational institutions around the world.\u003c/p>\n\u003cp>In my conversations with Goldin, she’s described this as a thin sort of victory, weighed against the carnage of an opioid crisis that’s still raging.\u003c/p>\n\u003cp>Hundreds of thousands of Americans have already died. Fatal overdoses, driven now mostly by the illicit street opioid fentanyl, hit a devastating new record in 2021.\u003c/p>\n\u003cp>In the documentary, however, Goldin allows herself a moment of triumph. She walks through an exhibition space in the Met, where the Sackler name has been scoured from the wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Congress didn’t do anything, the Justice Department didn’t do anything,” Goldin says. “This is the only place they’re being held accountable, the only place. We did it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+artist+took+on+the+Sacklers+and+shook+their+reputation+in+the+art+world&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first couple times \u003ca href=\"https://www.npr.org/2021/09/01/1031053251/sackler-family-immunity-purdue-pharma-oxcyontin-opioid-epidemic\">I talked with photographer Nan Goldin\u003c/a>, I saw her rage and frustration over the prescription opioid epidemic that derailed her life and killed tens of thousands of Americans.\u003c/p>\n\u003cp>“I’ve never seen such an abuse of justice,” Goldin told me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She was talking about members of the Sackler family, who own Purdue Pharma, the maker of OxyContin.\u003c/p>\n\u003cp>Goldin herself became addicted to pain pills after surgery. She later came to believe the Sacklers lied about their drug’s safety and were unlikely to be held accountable.\u003c/p>\n\u003cp>“It’s shocking. It’s really shocking. I’ve been deeply depressed and horrified,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I missed in those encounters with Goldin — hidden behind the chain smoking and the weary laugh — was the power, stubbornness and battle-hardened courage that helped her take on the Sacklers.\u003c/p>\n\u003cp>That’s the revelation in the new documentary about Goldin, \u003cem>All the Beauty and the Bloodshed\u003c/em>, out now in limited release. It won the Gold Lion for best film this year at the Venice International Film Festival.\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/DXgF7bskfvo'\n title='//www.youtube.com/embed/DXgF7bskfvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film by Laura Poitras shows Goldin growing up in an abusive family, surviving foster care and living homeless in New York City.\u003c/p>\n\u003cp>Goldin clawed her way into the art world as one of the rawest, most powerful photographers of her generation. To pay the bills — and cover the cost of film — Goldin often danced in strip clubs and did sex work.\u003c/p>\n\u003cp>“Photography was always a way to walk through fear,” Goldin says in the documentary. “It gave me a reason to be there.”\u003c/p>\n\u003cp>She was later one of the earliest American artists to take on the AIDS epidemic, mounting a show in the late 1980s that drew national attention and controversy.\u003c/p>\n\u003cp>The Sackler family, meanwhile, was growing fabulously wealthy, first by selling Valium and then aggressively marketing OxyContin.\u003c/p>\n\u003cp>Many of the same museums around the world that were beginning to collect Goldin’s photographs were also naming buildings after the Sacklers — in exchange for lavish donations.\u003c/p>\n\u003cp>The collision between the Sacklers and Goldin portrayed in this film came after Goldin’s recovery from years of opioid addiction, a time she describes as “a darkness of the soul.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After reading about the Sacklers’ role pushing OxyContin sales in a \u003ca href=\"https://www.newyorker.com/magazine/2017/10/30/the-family-that-built-an-empire-of-pain\">groundbreaking article in \u003cem>The New Yorker\u003c/em>\u003c/a>, Goldin decided to challenge their carefully curated public image as enlightened philanthropists.\u003c/p>\n\u003cp>“All the museums and institutions need to stop taking money from these corrupt evil bastards,” Goldin says in the documentary, as she helps organize one of the opioid protests that rocked the art world over the last five years.\u003c/p>\n\u003cp>It wasn’t clear Goldin’s campaign would work. The Sacklers ranked among the most widely respected and deeply connected art patrons.\u003c/p>\n\u003cp>“The museums … tried to pretend it wasn’t happening,” said director \u003ca href=\"https://www.npr.org/2022/12/03/1140529085/director-laura-poitras-on-her-new-documentary-all-the-beauty-and-the-bloodshed\">Laura Poitras\u003c/a> in an interview with NPR. “None of them responded.”\u003c/p>\n\u003cp>But Goldin kept pushing, mounting more protests and publishing a scathing personal essay \u003ca href=\"https://www.artforum.com/print/201801/nan-goldin-73181\">in the influential journal \u003cem>Artforum\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“She knew how to use her power. She’s a figure these museums wanted to work with,” says David Velasco, \u003cem>Artforum’\u003c/em>s editor in chief, in the documentary.\u003c/p>\n\u003cfigure id=\"attachment_13922345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1431555730-800x533.jpg\" alt=\"Two women holding microphones sits on basic chairs on stage, looking admiringly at one another.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin and Laura Poitras discuss ‘All the Beauty and the Bloodshed’ onstage at the 60th New York Film Festival. Oct. 2022. \u003ccite>(Theo Wargo/Getty Images for FLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s important to say the Sacklers have long denied any wrongdoing.\u003c/p>\n\u003cp>Their company has twice pleaded guilty to federal criminal charges relating to opioid marketing and Purdue Pharma is now in bankruptcy.\u003c/p>\n\u003cp>But members of the Sackler family who directed the company and profited from opioid sales have never been charged with any crime.\u003c/p>\n\u003cp>While they’ve given up control of their company and are expected to pay billions of dollars as part of a settlement deal, they are likely to retain much of their wealth.\u003c/p>\n\u003cp>They have, however, faced a different kind of accountability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In bestselling books such as \u003cem>\u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Empire of Pain: The Secret History of the Sackler Dynasty\u003c/a>\u003c/em>, the book and award-winning television series \u003ca href=\"https://www.npr.org/2021/11/08/1051475843/dopesick-hulu-true-story-opioid-addiction\">\u003cem>Dopesick\u003c/em>\u003c/a>, and this new documentary, the Sacklers have faced a kind of public shaming.\u003c/p>\n\u003cp>The Sackler name has been \u003ca href=\"https://www.npr.org/2021/12/09/1062752439/the-met-will-strip-the-sackler-familys-name\">stripped\u003c/a> from buildings and exhibition spaces in the Guggenheim, the Louvre, the Met, and other top cultural and educational institutions around the world.\u003c/p>\n\u003cp>In my conversations with Goldin, she’s described this as a thin sort of victory, weighed against the carnage of an opioid crisis that’s still raging.\u003c/p>\n\u003cp>Hundreds of thousands of Americans have already died. Fatal overdoses, driven now mostly by the illicit street opioid fentanyl, hit a devastating new record in 2021.\u003c/p>\n\u003cp>In the documentary, however, Goldin allows herself a moment of triumph. She walks through an exhibition space in the Met, where the Sackler name has been scoured from the wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Congress didn’t do anything, the Justice Department didn’t do anything,” Goldin says. “This is the only place they’re being held accountable, the only place. We did it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+artist+took+on+the+Sacklers+and+shook+their+reputation+in+the+art+world&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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"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.",
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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.",
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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",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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