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"content": "\u003cp>\u003cstrong>This article contains spoilers about the season finale of \u003c/strong>\u003cem>\u003cstrong>Andor\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>In one corner of the \u003cem>Star Wars\u003c/em> galaxy, you’ve got the eeeeevil Sith Lord, Emperor Sheev Palpatine, crackling with Force-lighting as he fries Jedi Master Mace Windu to a crisp, screaming “POWAH! UNLIMITED POWAAAAAH!”\u003c/p>\n\u003cp>And over in another corner — the much grubbier and lower-profile one depicted on season one of Disney+’s \u003cem>Andor \u003c/em>— you’ve got the bootlicking, low-level, fascist toady Syril Karn, standing at attention while he nervously answers his supervisor’s question about whether he’s modified his uniform.\u003c/p>\n\u003cp>“Perhaps slightly,” he says. “Pockets, piping. Some light tailoring.”\u003c/p>\n\u003cp>Several years separate those two events, and they exist on different orders of magnitude. The Emperor and all his cackling and crackling belong to the mythic, the macro \u003cem>Star War\u003c/em>s — the Joseph-Campbell-hero’s-quest of George Lucas’ original vision, which combined sprawling space-opera with the high adventure of Saturday movie serials — narrow escapes, thrilling stunts and hiss-worthy villains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKOegEuCcfw\u003c/p>\n\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920462']The \u003cem>Star War\u003c/em>s films showed us an Empire that was Evil because it destroyed planets and chased down our doughty heroes. Sure, there were always gray-uniformed Space Nazis milling around in the background, and the few who got speaking roles — Peter Cushing’s Grand Moff Tarkin, for example — were possessed of the cold cunning of a Saturday serial villain, to contrast with the implacable menace of Vader and the over-the-top mustache-twirling of the Emperor. They were all of a piece, larger than life.\u003c/p>\n\u003cp>But the fascistic functionaries of \u003cem>Andor —\u003c/em> Syril Karn, Dedra Mero, Major Partagaz, Lieutenant Supervisor Blevins, and others — are cogs. Willing, dedicated cogs who relish the machine they’re a part of, even if they each believe they could be of more use somewhere else in it.\u003c/p>\n\u003cp>There is The Force, and there is force — blunt, brutal and dehumanizing. In \u003cem>Andor\u003c/em>, again and again, we watched the latter variety exert its dispassionate influence, not on entire planets, but on individual lives. The public display of Andor’s father’s corpse. Andor’s arrest, and six-year-no-but-really-forever sentence for loitering. The exploitive, endless labor of Narkina 5. The appallingly chipper, matter-of-fact torture of Bix. The cumulative result was wrenching and personal and inevitably, eerily, relevant.\u003c/p>\n\u003cp>As was the season’s portrait of resistance.\u003c/p>\n\u003ch3>\u003cem>Andor \u003c/em>walked so Luke could Skywalk\u003c/h3>\n\u003cp>The \u003cem>Star Wars\u003c/em> films argue that a galaxy can be saved from tyranny by a handful of heroes — and, yes, a succession of easily exploited design flaws in space stations.\u003c/p>\n\u003cp>\u003cem>Andor \u003c/em>showed the growing discontent and anger that gives rise to heroes. In many different ways, for their own individual reasons, the characters of \u003cem>Andor \u003c/em>decide to rise up and fight, because totalitarianism is an unnatural state; it breeds resistance.\u003c/p>\n\u003cp>[aside postid='arts_13889379']“The more you tighten your grip,” Princess Leia told Tarkin in \u003cem>Star Wars: A New Hope,\u003c/em> “the more star systems are going to slip through your fingers.”\u003c/p>\n\u003cp>On \u003cem>Andor\u003c/em>, we watch as that grip tightens around places like Ferrix and Aldhani and Narkina 5 and Coruscant. We watch people we care about get crushed. But we also watch others slip through. Yes, lives get lost, and compromises get made — that’s what Luthen’s monologue in episode 10 is all about, the harrowing loneliness of the freedom fighter.\u003c/p>\n\u003cp>But \u003cem>Andor \u003c/em>shows us that the Empire’s downfall is and always was inevitable, Skywalker or no Skywalker. It’s baked in, the inescapable result of the system’s utter disregard for the humanity of the people it seeks to exploit and control.\u003c/p>\n\u003ch3>Anakin was right about sand\u003c/h3>\n\u003cp>Let’s be real, though.\u003c/p>\n\u003cp>There’s another reason, besides the satisfying clarity of its focus on the individual, that \u003cem>Andor’\u003c/em>s first season set itself apart. Back in 1977, on his aunt and uncle’s Tatooine moisture farm, we all watched Luke Skywalker inform C-3PO, “If there’s a bright center of the universe, you’re on the planet it’s farthest from.”\u003c/p>\n\u003cp>This turned out to be a lie. For several reasons — most especially the unhealthy infatuation with nostalgia/fan service that continues to dog the franchise — the \u003cem>Star Wars \u003c/em>powers-that-be keep booking us passage back to that same, damn featureless sand-planet. Even the otherwise excellent \u003cem>The Mandalorian\u003c/em>, which mostly traffics in the same interplanetary ground-level action \u003cem>Andor \u003c/em>does, couldn’t resist the siren song of Tatooine’s Krayt dragons and Tusken Raiders. (And despite a first season that managed to step out of the shadow of what had gone before, the gravitational pull of Jedi temples and lightsabers also proved too strong for \u003cem>The Mandalorian\u003c/em> to escape.)\u003c/p>\n\u003cp>[aside postid='arts_13903607']Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That it all will take place as far away from %##*&! Tatooine as possible.\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=%27Andor%27+soared+%E2%80%94+it+was+about+the+force%2C+not+The+Force%2C+of+the+Star+Wars+universe+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\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/cKOegEuCcfw'\n title='//www.youtube.com/embed/cKOegEuCcfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama",
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"content": "\u003cp>My older sister has scrutinized every boyfriend I’ve ever brought home. But she isn’t performing the standard quality control checks. She wants to know if they’re good enough for … our future \u003cem>Family Feud\u003c/em> squad.\u003c/p>\n\u003cp>[aside postid='arts_13921169']For years we’ve been trying to put together an A-list lineup, always looking for the best formula of family members to take on our imaginary rivals. The same way the Avengers can’t all have the same superpower, we are building a balanced team of \u003cem>Feud\u003c/em>ers that could beat any enemies. What do they bring to the table? More importantly, what do they know that I don’t?\u003c/p>\n\u003cp>If you’re not familiar with the long-running game show, two families compete by guessing the most popular answers to survey questions. What makes it special is if you play it right, you aren’t giving your \u003cem>own\u003c/em> opinion — you’re thinking of what average survey respondents said. The family with the most points gets to play fast money, where two people need to answer rapid-fire to get enough points to win the cash prize.\u003c/p>\n\u003cp>So why \u003cem>Family Feud\u003c/em>? It’s kitschy and a bit silly — the \u003ca href=\"https://www.youtube.com/watch?v=QLSXaMibtTE\">YouTube highlights\u003c/a> never get old. It’s a game show that’s \u003cem>just\u003c/em> challenging enough. And ultimately, it’s the low-stakes drama we all need.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V_hbpLufakg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My journey started with casual viewing. I grew up in a house without cable, and there were only so many things to keep us entertained when babysitting our younger sisters. The game show hit that sweet spot when we weren’t old enough to appreciate \u003cem>Jeopardy! \u003c/em>but felt too old for cartoons (the \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\">”I’m Not A Girl, Not Yet A Woman”\u003c/a> phase.) We started when Richard Karn of \u003cem>Home Improvement\u003c/em> hosted, kept it up when \u003cem>Seinfeld’\u003c/em>s John O’Hurley took over, and we remain loyal viewers of the current Steve Harvey version. But truthfully, the host isn’t even a selling point for us — we are laser-focused on the game.\u003c/p>\n\u003cp>[aside postid='arts_13920298']The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o6gD9_akew0\u003c/p>\n\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>[aside postid='arts_13907974']But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\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=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\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/o6gD9_akew0'\n title='//www.youtube.com/embed/o6gD9_akew0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A pair of faux tortoiseshell sunglasses worn by Joan Didion in a Celine ad sold for $27,000 Wednesday, one of a number of items fetching eye-popping prices at an auction of the late author’s furniture, books and household items\u003c/p>\n\u003cp>The \u003ca href=\"https://www.bidsquare.com/auctions/stair-galleries/an-american-icon-property-from-the-collection-of-joan-didion-10565#catalog\">auction\u003c/a>, at Stair Galleries in Hudson, N.Y., netted nearly $2 million, with even ordinary possessions selling for many times the galleries’ estimated price, evidence of the continuing fascination with Didion’s life and works.\u003c/p>\n\u003cp>[aside postid='arts_13907549']Didion and her husband, author John Gregory Dunne, were friends with many actors, writers and artists, and the auction included signed works by Richard Diebenkorn, Richard Serra, Jennifer Bartlett and Annie Leibovitz.\u003c/p>\n\u003cp>A lithograph by artist Cy Twombly sold for $50,000, nearly ten times the estimated price, while a Diebenkorn work fetched $85,000.\u003c/p>\n\u003cp>Even more surprising were the prices fetched for a number of routine possessions, for no apparent reason other than their connection to Didion and Dunne.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A pair of leather wastebaskets went for $5,500, a Random House dictionary for $11,000. A group of desk items, including scissors, a box of pens and a clipboard, brought in $4,250. A collection of seashells went for $7,000.\u003c/p>\n\u003cp>A small desk clock estimated to be worth no more than $200 ended up going for $35,000, while a silver Revere-style bowl engraved with the monogram JJD and thought to be worth no more than $350 sold for $30,000, nearly 100 times the galleries’ estimate.\u003c/p>\n\u003cp>The item fetching the most money was an oil painting of Didion done by a fan, based on the book jacket cover for her novel \u003cem>A Book of Common Prayer\u003c/em>. Didion hung it in a prominent place in the New York City apartment she shared with Dunne and was sometimes photographed near it. It sold for $110,000.\u003c/p>\n\u003cp>The high prices come at a time when Didion’s popularity is surging. During her decades-long career, she was a much-feted and very influential author, turning out screenplays, best-selling novels and several much-admired books of essays.\u003c/p>\n\u003cp>[aside postid='arts_13891888']But since her death last December at age 87, her popularity has only seemed to grow, especially among young people, said Lisa Thomas, Stair’s director of fine arts.\u003c/p>\n\u003cp>“This young generation of 20- and 30-somethings who are really interested in what was happening culturally, artistically, in the late ‘60s and ‘70s, they’re all interested in her and they’re all reading her anew,” Thomas said.\u003c/p>\n\u003cp>“There are a lot of amazing writers from that period, but Didion seems to be the one that has really persisted. People carry around tote bags in New York City with Joan Didion’s face on it,” said Kelly Burdick, executive editor of the literary magazine Lapham’s Quarterly.\u003c/p>\n\u003cp>Burdick was one of thousands of people who turned out to see the items being sold in the days leading up to the auction.\u003c/p>\n\u003cp>“It’s so incredible to be in this space. To see it all. But just being here is goosebump inducing,” said Ellie Reid, 30, one recent afternoon. She had taken the day off from her job in Vermont and driven more than three hours to see the exhibition.\u003c/p>\n\u003cp>“I have all her books, and there are a couple that I leave one chapter unread because I don’t want to finish reading her and there’s not going to be anything else after that.”\u003c/p>\n\u003cp>Among the most poignant items sold yesterday was the small drop-leaf table where Dunne was sitting when he had a fatal heart attack in 2003, an event Didion wrote about in her much-celebrated treatise on grief, \u003cem>The Year of Magical Thinking\u003c/em>. It sold for $4,250.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Didion suffered from Parkinson’s disease, and proceeds from the sale will go to Parkinson’s research and care at Columbia University and Columbia/Presbyterian Hospital, as well as to the Sacramento Historical Society, for the benefit of a scholarship fund for women writers at Sacramento City College.\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=Writer+Joan+Didion%27s+possessions+sell+for+eye-popping+prices+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A pair of faux tortoiseshell sunglasses worn by Joan Didion in a Celine ad sold for $27,000 Wednesday, one of a number of items fetching eye-popping prices at an auction of the late author’s furniture, books and household items\u003c/p>\n\u003cp>The \u003ca href=\"https://www.bidsquare.com/auctions/stair-galleries/an-american-icon-property-from-the-collection-of-joan-didion-10565#catalog\">auction\u003c/a>, at Stair Galleries in Hudson, N.Y., netted nearly $2 million, with even ordinary possessions selling for many times the galleries’ estimated price, evidence of the continuing fascination with Didion’s life and works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A pair of leather wastebaskets went for $5,500, a Random House dictionary for $11,000. A group of desk items, including scissors, a box of pens and a clipboard, brought in $4,250. A collection of seashells went for $7,000.\u003c/p>\n\u003cp>A small desk clock estimated to be worth no more than $200 ended up going for $35,000, while a silver Revere-style bowl engraved with the monogram JJD and thought to be worth no more than $350 sold for $30,000, nearly 100 times the galleries’ estimate.\u003c/p>\n\u003cp>The item fetching the most money was an oil painting of Didion done by a fan, based on the book jacket cover for her novel \u003cem>A Book of Common Prayer\u003c/em>. Didion hung it in a prominent place in the New York City apartment she shared with Dunne and was sometimes photographed near it. It sold for $110,000.\u003c/p>\n\u003cp>The high prices come at a time when Didion’s popularity is surging. During her decades-long career, she was a much-feted and very influential author, turning out screenplays, best-selling novels and several much-admired books of essays.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But since her death last December at age 87, her popularity has only seemed to grow, especially among young people, said Lisa Thomas, Stair’s director of fine arts.\u003c/p>\n\u003cp>“This young generation of 20- and 30-somethings who are really interested in what was happening culturally, artistically, in the late ‘60s and ‘70s, they’re all interested in her and they’re all reading her anew,” Thomas said.\u003c/p>\n\u003cp>“There are a lot of amazing writers from that period, but Didion seems to be the one that has really persisted. People carry around tote bags in New York City with Joan Didion’s face on it,” said Kelly Burdick, executive editor of the literary magazine Lapham’s Quarterly.\u003c/p>\n\u003cp>Burdick was one of thousands of people who turned out to see the items being sold in the days leading up to the auction.\u003c/p>\n\u003cp>“It’s so incredible to be in this space. To see it all. But just being here is goosebump inducing,” said Ellie Reid, 30, one recent afternoon. She had taken the day off from her job in Vermont and driven more than three hours to see the exhibition.\u003c/p>\n\u003cp>“I have all her books, and there are a couple that I leave one chapter unread because I don’t want to finish reading her and there’s not going to be anything else after that.”\u003c/p>\n\u003cp>Among the most poignant items sold yesterday was the small drop-leaf table where Dunne was sitting when he had a fatal heart attack in 2003, an event Didion wrote about in her much-celebrated treatise on grief, \u003cem>The Year of Magical Thinking\u003c/em>. It sold for $4,250.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Didion suffered from Parkinson’s disease, and proceeds from the sale will go to Parkinson’s research and care at Columbia University and Columbia/Presbyterian Hospital, as well as to the Sacramento Historical Society, for the benefit of a scholarship fund for women writers at Sacramento City College.\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=Writer+Joan+Didion%27s+possessions+sell+for+eye-popping+prices+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
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"content": "\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>[aside postid='arts_13916796']Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\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=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\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=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sandals worn by \u003ca href=\"https://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\">Steve Jobs\u003c/a> in the early days of Apple sold for $218,750 at an auction in New York City on Sunday.\u003c/p>\n\u003cp>The brown suede Birkenstock Arizonas were worn by Jobs in the 1970s and 1980s during “many pivotal moments in Apple’s history,” according to the auction house.\u003c/p>\n\u003cp>[aside postid='arts_13886943']It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The winning bidder did not want their name disclosed, but it was sold in the room at the Hard Rock Cafe in Times Square, according to Nolan. The runner-up bid was from a potential buyer in China.\u003c/p>\n\u003cp>This is far from the most someone has paid for footwear at auction.\u003c/p>\n\u003cp>Nike Air Ships worn by Michael Jordan in 1984 sold for \u003ca href=\"https://www.npr.org/2021/10/25/1049009323/michael-jordan-shoes-sneakers-auction\">$1.47 million a year ago\u003c/a>. Black Nikes worn by Kanye West at the 2008 Grammys \u003ca href=\"https://news.artnet.com/art-world/kanye-west-sneakers-sell-sothebys-1961885\">sold for $1.8 million\u003c/a> last year as well.\u003c/p>\n\u003cp>[aside postid='arts_13898598']The auction also included an NFT of images of the Birkenstocks as part of the sale.\u003c/p>\n\u003cp>But perhaps the most pressing question about the sandals, seeing as the auction house notes that they show “heavy wear”: Do they smell?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nolan only answered that they “do smell … of success.”\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=Steve+Jobs%27+worn-out+Birkenstocks+sell+for+%24218%2C000+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album",
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"content": "\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920908']In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>[aside postid='pop_104969']The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\n\u003cp>https://twitter.com/OVOSound/status/1587914638095589377\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\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=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\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=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "See How a Young Steven Spielberg Fell in Love With Film in ‘The Fabelmans’",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/tags/456833620/steven-spielberg\">Steven Spielberg\u003c/a> has never been shy about weaving elements of his family history into his movies. He’s spoken in interviews about how his Dad’s World War II stories shaped \u003cem>1941 \u003c/em>and \u003cem>Saving Private Ryan\u003c/em>, and how \u003cem>E.T. \u003c/em>and\u003cem> Close Encounters of the Third Kind\u003c/em> grew out of the pain of his parents’ divorce.\u003c/p>\n\u003cp>Now, at 75, Spielberg places that divorce front and center in \u003cem>The Fabelmans\u003c/em>, along with many other details from his childhood and teenage years. It’s his fourth collaboration with the playwright and screenwriter \u003ca href=\"https://www.npr.org/2006/06/20/5498280/tony-kushner-caroline-or-change\">Tony Kushner\u003c/a>, and for the first time, the two share a writing credit. The movie is funny, melancholy and altogether marvelous. And if its portrait of a young filmmaking prodigy verges on self-congratulatory, that’s easily forgiven, considering who that prodigy grew up to be. In the movie, his name is Sammy Fabelman, and we first meet him as a young kid in 1950s New Jersey. From the moment his parents take him to see Cecil B. DeMille’s \u003cem>The Greatest Show on Earth\u003c/em>, he’s hooked and he knows he’s found his life’s calling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D1G2iLSzOe8\u003c/p>\n\u003cp>Shooting in gorgeously immersive long takes with his longtime cinematographer Janusz Kamiński, Spielberg lovingly recreates his early moviemaking memories. We see Sammy shooting monster movies with his younger sisters, using ketchup as fake blood. Later, as a teenager in the early ‘60s, Sammy, played by the appealing Gabriel LaBelle, will direct a few terrific short films, including a Western and a war picture.\u003c/p>\n\u003cp>[aside postid='arts_13921263']Moviemaking provides Sammy with some stability amid the upheaval of his family life. His kind-hearted father, Burt, played with aching restraint by \u003ca href=\"https://www.npr.org/2008/01/08/17926946/actor-paul-dano-there-will-be-blood\">Paul Dano\u003c/a>, is an electrical engineer whose work in the burgeoning computer industry keeps him and the family on the move, relocating over the years from New Jersey to Phoenix, Ariz., to Northern California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this change takes a heavy toll on Sammy’s free-spirited mother, Mitzi, played by Michelle Williams in an emotionally vibrant and ultimately devastating performance. Williams shows us Mitzi’s radiance and her restlessness, and also her deep regret at having sacrificed a career as a concert pianist in order to raise her family. Mitzi urges Sammy to follow his filmmaking dreams. A close family friend, Bennie, played by Seth Rogen, proves just as encouraging. But Sammy’s father wishes he would do something more practical, like computing or engineering.\u003c/p>\n\u003cp>This tension is brilliantly articulated by Sammy’s great-uncle Boris, who drops by one day for an unexpected visit. Played by a wonderful Judd Hirsch, Boris, a former circus performer and silent-film actor, tells Sammy about the cost of pursuing a life in the arts, warning, “Art will give you crowns in heaven and laurels on Earth, but also, it will tear your heart out. Art is no game! Art is dangerous as a lion’s mouth. It’ll bite your head off.”\u003c/p>\n\u003cp>Sammy loves making movies, in part, because it grants him the illusion of control. As he shoots with an 8-millimeter camera and cuts scenes together by hand, he discovers that he can bend reality to his will and even work through his fears and insecurities. That feels like a remarkably honest confession coming from Spielberg, who’s often been taken to task by critics for being overly manipulative, for indulging in easy sentimentality and avoiding tougher questions.\u003c/p>\n\u003cp>But what makes \u003cem>The Fabelmans\u003c/em> so affecting is that it knows there’s more to movies than make-believe. In time, Sammy learns that a camera can see things that the human eye misses, that it can expose painful secrets. One summer, he films a family camping trip and what happens next has serious repercussions for his parents and siblings. Spielberg unpacks these revelations in a nearly wordless sequence that ranks among the most lyrical filmmaking of his career. It’s wrenching to see his young alter ego reckon with the truth of who his parents are, learn to forgive them and embrace the good that they’ve both instilled in him.\u003c/p>\n\u003cp>[aside postid='arts_13921052']As sad as its portrait of family can be, \u003cem>The Fabelmans\u003c/em> is also Spielberg’s funniest movie in some time; it has a winningly rambunctious spirit. Sure, there are some overly broad comic moments at Sammy’s high school, where he experiences first love and butts heads with anti-Semitic jocks, but even these scenes prove irresistible. It’s just as satisfying here as it is in other Spielberg movies like \u003cem>Duel \u003c/em>and \u003cem>Raiders of the Lost Ark\u003c/em> to see bullies get their comeuppance. It’s also satisfying to see young Sammy come face-to-face with one of his personal cinematic heroes in a moment that’s simply too good to spoil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Did it all really happen this way? It’s doubtful; like all great storytellers, Spielberg knows the value of artifice and embellishment. But again and again in \u003cem>The Fabelmans\u003c/em>, he uses his dazzling command of the medium to arrive at startling new depths of emotional truth.\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=See+how+a+young+Steven+Spielberg+fell+in+love+with+film+in+%27The+Fabelmans%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/tags/456833620/steven-spielberg\">Steven Spielberg\u003c/a> has never been shy about weaving elements of his family history into his movies. He’s spoken in interviews about how his Dad’s World War II stories shaped \u003cem>1941 \u003c/em>and \u003cem>Saving Private Ryan\u003c/em>, and how \u003cem>E.T. \u003c/em>and\u003cem> Close Encounters of the Third Kind\u003c/em> grew out of the pain of his parents’ divorce.\u003c/p>\n\u003cp>Now, at 75, Spielberg places that divorce front and center in \u003cem>The Fabelmans\u003c/em>, along with many other details from his childhood and teenage years. It’s his fourth collaboration with the playwright and screenwriter \u003ca href=\"https://www.npr.org/2006/06/20/5498280/tony-kushner-caroline-or-change\">Tony Kushner\u003c/a>, and for the first time, the two share a writing credit. The movie is funny, melancholy and altogether marvelous. And if its portrait of a young filmmaking prodigy verges on self-congratulatory, that’s easily forgiven, considering who that prodigy grew up to be. In the movie, his name is Sammy Fabelman, and we first meet him as a young kid in 1950s New Jersey. From the moment his parents take him to see Cecil B. DeMille’s \u003cem>The Greatest Show on Earth\u003c/em>, he’s hooked and he knows he’s found his life’s calling.\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/D1G2iLSzOe8'\n title='//www.youtube.com/embed/D1G2iLSzOe8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shooting in gorgeously immersive long takes with his longtime cinematographer Janusz Kamiński, Spielberg lovingly recreates his early moviemaking memories. We see Sammy shooting monster movies with his younger sisters, using ketchup as fake blood. Later, as a teenager in the early ‘60s, Sammy, played by the appealing Gabriel LaBelle, will direct a few terrific short films, including a Western and a war picture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moviemaking provides Sammy with some stability amid the upheaval of his family life. His kind-hearted father, Burt, played with aching restraint by \u003ca href=\"https://www.npr.org/2008/01/08/17926946/actor-paul-dano-there-will-be-blood\">Paul Dano\u003c/a>, is an electrical engineer whose work in the burgeoning computer industry keeps him and the family on the move, relocating over the years from New Jersey to Phoenix, Ariz., to Northern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All this change takes a heavy toll on Sammy’s free-spirited mother, Mitzi, played by Michelle Williams in an emotionally vibrant and ultimately devastating performance. Williams shows us Mitzi’s radiance and her restlessness, and also her deep regret at having sacrificed a career as a concert pianist in order to raise her family. Mitzi urges Sammy to follow his filmmaking dreams. A close family friend, Bennie, played by Seth Rogen, proves just as encouraging. But Sammy’s father wishes he would do something more practical, like computing or engineering.\u003c/p>\n\u003cp>This tension is brilliantly articulated by Sammy’s great-uncle Boris, who drops by one day for an unexpected visit. Played by a wonderful Judd Hirsch, Boris, a former circus performer and silent-film actor, tells Sammy about the cost of pursuing a life in the arts, warning, “Art will give you crowns in heaven and laurels on Earth, but also, it will tear your heart out. Art is no game! Art is dangerous as a lion’s mouth. It’ll bite your head off.”\u003c/p>\n\u003cp>Sammy loves making movies, in part, because it grants him the illusion of control. As he shoots with an 8-millimeter camera and cuts scenes together by hand, he discovers that he can bend reality to his will and even work through his fears and insecurities. That feels like a remarkably honest confession coming from Spielberg, who’s often been taken to task by critics for being overly manipulative, for indulging in easy sentimentality and avoiding tougher questions.\u003c/p>\n\u003cp>But what makes \u003cem>The Fabelmans\u003c/em> so affecting is that it knows there’s more to movies than make-believe. In time, Sammy learns that a camera can see things that the human eye misses, that it can expose painful secrets. One summer, he films a family camping trip and what happens next has serious repercussions for his parents and siblings. Spielberg unpacks these revelations in a nearly wordless sequence that ranks among the most lyrical filmmaking of his career. It’s wrenching to see his young alter ego reckon with the truth of who his parents are, learn to forgive them and embrace the good that they’ve both instilled in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As sad as its portrait of family can be, \u003cem>The Fabelmans\u003c/em> is also Spielberg’s funniest movie in some time; it has a winningly rambunctious spirit. Sure, there are some overly broad comic moments at Sammy’s high school, where he experiences first love and butts heads with anti-Semitic jocks, but even these scenes prove irresistible. It’s just as satisfying here as it is in other Spielberg movies like \u003cem>Duel \u003c/em>and \u003cem>Raiders of the Lost Ark\u003c/em> to see bullies get their comeuppance. It’s also satisfying to see young Sammy come face-to-face with one of his personal cinematic heroes in a moment that’s simply too good to spoil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Did it all really happen this way? It’s doubtful; like all great storytellers, Spielberg knows the value of artifice and embellishment. But again and again in \u003cem>The Fabelmans\u003c/em>, he uses his dazzling command of the medium to arrive at startling new depths of emotional truth.\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=See+how+a+young+Steven+Spielberg+fell+in+love+with+film+in+%27The+Fabelmans%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>[aside postid='arts_13920799']In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W4t58Yruhds\u003c/p>\n\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>[aside postid='arts_13921052']A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\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+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"title": "10 Books to Read to Learn About Women's Plight in Iran",
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"content": "\u003cp>Mass \u003ca href=\"https://www.npr.org/2022/10/29/1131830324/india-hijab-iran-protests\">demonstrations\u003c/a> happening in Iran were sparked by the death of a 22-year-old woman named Mahsa “Jina” Amini, in a Tehran hospital on Sept. 16, two days after her arrest by Islamic Republic authorities for failing to properly cover her hair.\u003c/p>\n\u003cp>Hijab is mandatory in Iran and is enforced by “vice-and-virtue” squads. Iranian officials claim she suffered a heart attack, but witnesses at the police station and her relatives say Amini was severely beaten while she was in custody.\u003c/p>\n\u003cp>[aside postid='arts_13920137']Videos and posts on social media and independent news reports show the resulting Iranian protests — the largest since 2009 — are being violently and often fatally suppressed by Iranian security forces. Many women and girls at these demonstrations have removed their own headscarves in public and cut or shaved their hair. The images and reports have spurred solidarity protests around the world.\u003c/p>\n\u003cp>But the uprising in Iran is about much more than mandatory hijab.\u003c/p>\n\u003cp>We have put together a reading list that can offer insight into Iranian women and what is happening in their country. This list of 10 books was complied with the help of fellow Iranian friends and family, including journalist and author Nazila Fathi; refugee and migration law expert Parastou Hassouri, comedian Maz Jobrani, and Maryam Haghbin, a Montessori field consultant (and also my cousin). Many are memoirs by women who were forced to flee Iran:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Persepolis (I and II)\u003c/strong> \u003c/em>by Marjane Satrapi, a French-Iranian illustrator and children’s author. The engaging memoir told in comics as well as its film adaptation are about her childhood in Iran and adolescence in Europe — and describe how the four-decade old revolution that toppled the Shah ended up oppressing the public it purported to liberate, especially women.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Until We Are Free: My Fight for Human Rights in Iran\u003c/em>\u003c/strong> by Shirin Ebadi, the 2003 Nobel Peace Prize winner and judge who because of her sex was forced from office in the Islamic Republic — yet remained defiant. This is her second memoir.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Iran Awakening: One Woman’s Journey to Reclaim her Life and Country\u003c/em>\u003c/strong> by Shirin Ebadi (with journalist Azadeh Moaveni). Her first memoir, chronicling her earlier years and how the Iranian revolution that so many embraced turned into a theocracy.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Lonely War: One Woman’s Account of the Struggle for Modern Iran,\u003c/em> \u003c/strong>by Nazila Fathi, a former \u003cem>New York Times\u003c/em> reporter who seamlessly weaves her compelling story as a journalist ultimately forced to flee her native Iran with the post-revolution history of her country.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Prison, My Home: One Woman’s Story of Captivity in Iran\u003c/em>\u003c/strong> by Haleh Esfandiari, an Iranian-American scholar and former director of the Middle East Program at the Woodrow Wilson Center. The memoir delves into her arrest on false charges and her time at the notorious Evin Prison.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reconstructed Lives: Women and Iran’s Islamic Revolution\u003c/em> \u003c/strong>by Haleh Esfandiari, who presents interviews with Iranian professional and working women and their dramatic accounts about what has happened to them following the 1979 revolution.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Women and Revolution in Iran\u003c/strong> \u003c/em>by Guity Nashat, a historian and researcher who edited this collection of essays featuring various perspectives on the participation of women in the 1979 Islamic revolution in Iran and its complexities.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Between Warrior Brother and Veiled Sister: Islamic Fundamentalism and the Politics of Patriarchy in Iran\u003c/em>\u003c/strong> by Minoo Moallem, a professor of gender and women’s studies at the University of California at Berkeley. She analyzes modern Iran and, while critical of the treatment of women, sets aside stereotypes of Islam and Muslims as fanatical and backward.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Honeymoon in Tehran: Two Years of Love and Danger in Iran\u003c/em>\u003c/strong> by Azadeh Moaveni, former journalist who directs the Gender and Conflict Program at the International Crisis Group. This is her second memoir, an engaging account of her personal and professional life in Tehran during the rise of populist President Mahmoud Ahmadinejad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reading Lolita in Tehran \u003c/em>\u003c/strong>by Azar Nafisi, an English literature professor. This bestselling memoir about a clandestine book club she hosts at her home in Tehran draws readers in, but has been criticized by many in the Iranian diaspora and some non-Iranians for portraying Iranian themes through a narrow, Western lens.\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=10+books+to+read+to+learn+about+women%27s+plight+in+Iran&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Persepolis (I and II)\u003c/strong> \u003c/em>by Marjane Satrapi, a French-Iranian illustrator and children’s author. The engaging memoir told in comics as well as its film adaptation are about her childhood in Iran and adolescence in Europe — and describe how the four-decade old revolution that toppled the Shah ended up oppressing the public it purported to liberate, especially women.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Until We Are Free: My Fight for Human Rights in Iran\u003c/em>\u003c/strong> by Shirin Ebadi, the 2003 Nobel Peace Prize winner and judge who because of her sex was forced from office in the Islamic Republic — yet remained defiant. This is her second memoir.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Iran Awakening: One Woman’s Journey to Reclaim her Life and Country\u003c/em>\u003c/strong> by Shirin Ebadi (with journalist Azadeh Moaveni). Her first memoir, chronicling her earlier years and how the Iranian revolution that so many embraced turned into a theocracy.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Lonely War: One Woman’s Account of the Struggle for Modern Iran,\u003c/em> \u003c/strong>by Nazila Fathi, a former \u003cem>New York Times\u003c/em> reporter who seamlessly weaves her compelling story as a journalist ultimately forced to flee her native Iran with the post-revolution history of her country.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Prison, My Home: One Woman’s Story of Captivity in Iran\u003c/em>\u003c/strong> by Haleh Esfandiari, an Iranian-American scholar and former director of the Middle East Program at the Woodrow Wilson Center. The memoir delves into her arrest on false charges and her time at the notorious Evin Prison.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reconstructed Lives: Women and Iran’s Islamic Revolution\u003c/em> \u003c/strong>by Haleh Esfandiari, who presents interviews with Iranian professional and working women and their dramatic accounts about what has happened to them following the 1979 revolution.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Women and Revolution in Iran\u003c/strong> \u003c/em>by Guity Nashat, a historian and researcher who edited this collection of essays featuring various perspectives on the participation of women in the 1979 Islamic revolution in Iran and its complexities.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Between Warrior Brother and Veiled Sister: Islamic Fundamentalism and the Politics of Patriarchy in Iran\u003c/em>\u003c/strong> by Minoo Moallem, a professor of gender and women’s studies at the University of California at Berkeley. She analyzes modern Iran and, while critical of the treatment of women, sets aside stereotypes of Islam and Muslims as fanatical and backward.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Honeymoon in Tehran: Two Years of Love and Danger in Iran\u003c/em>\u003c/strong> by Azadeh Moaveni, former journalist who directs the Gender and Conflict Program at the International Crisis Group. This is her second memoir, an engaging account of her personal and professional life in Tehran during the rise of populist President Mahmoud Ahmadinejad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reading Lolita in Tehran \u003c/em>\u003c/strong>by Azar Nafisi, an English literature professor. This bestselling memoir about a clandestine book club she hosts at her home in Tehran draws readers in, but has been criticized by many in the Iranian diaspora and some non-Iranians for portraying Iranian themes through a narrow, Western lens.\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=10+books+to+read+to+learn+about+women%27s+plight+in+Iran&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Jeopardy! Tournament of Champions’ Has the Makings of Being the Greatest Yet",
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"content": "\u003cp>The \u003cem>Jeopardy! Tournament of Champions\u003c/em> (TOC) is like the Super Bowl for trivia nerds, but even if you’re not a trivia fan, you may want to tune in this time.\u003c/p>\n\u003cp>This year’s cast is not only the most impressive group of competitors ever, but \u003cem>Jeopardy!\u003c/em> is also implementing a new structure that could make for the most exciting tournament in the show’s history.\u003c/p>\n\u003ch3>How the tournament works\u003c/h3>\n\u003cp>Every year, \u003cem>Jeopardy!\u003c/em> reconvenes a cast of its most dominant players from the previous season to compete in a tournament-style competition.\u003c/p>\n\u003cp>Over the course of two weeks, the contestants face off in a series of quarterfinal, semifinal and final rounds, all vying to make their mark in \u003cem>Jeopardy!\u003c/em> history, and a $250,000 prize.\u003c/p>\n\u003cp>Typically, 15 past players are invited back to compete in the tournament. This year, the contestant pool has increased to 21.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of those 21, 18 will play in TOC’s quarterfinal rounds, with the remaining three having been pre-selected to skip to the tournament’s semifinals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AdqRBZVo4IA\u003c/p>\n\u003cp>But who are those pre-select semifinalists?\u003c/p>\n\u003ch3>Here are the super champs!\u003c/h3>\n\u003cp>The three pre-selected semifinal contestants are Amy Schneider, Matt Amodio, and Mattea Roach.\u003c/p>\n\u003cp>These three contestants are considered \u003cem>Jeopardy!\u003c/em> “super champions” (a title given to contestants who exceed 10 consecutive wins), with each of them having had one of the top five longest streaks of consecutive wins in regular season play.\u003c/p>\n\u003cp>\u003cstrong>Amy Schneider — 41 consecutive wins (2nd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1074-re-se-b126c7ced82f9fed357d8b07078fd884fe364f2b-800x600.jpg\" alt=\"A bespectacled woman in powder blue suit jacket stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Amy Schneider won a total $1,382,800 during her streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of breaking records, Schneider might be the most formidable contender in this year’s tournament. She holds the second longest streak of consecutive wins in the show’s history, is the highest winning female contestant, and is the first openly transgender contestant to qualify for the tournament of champions.\u003c/p>\n\u003cp>\u003cstrong>Matt Amodio — 38 consecutive wins (3rd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921173\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1081-re-se-6512fb61610bb25d1f44b7af15712bf000a734cf-800x600.jpg\" alt=\"A young man with tight curly black hair, wearing an argyle sweater stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Matt Amodio won a total $1,518,601 during his streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Amodio does not have the longest running streak amongst TOC contestants, his track record shows that he was more dominant than Schneider on a per-game basis. Amodio’s cumulative winnings on \u003cem>Jeopardy!\u003c/em> exceed Schneider’s by more than $100,000, despite having three fewer wins overall.\u003c/p>\n\u003cp>\u003cstrong>Mattea Roach — 23 consecutive wins (5th longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1086-re-se-ee8ceeb9b1422fc5e7bd9d9277b2118d0623fb81-800x601.jpg\" alt=\"A young woman with short hair and glasses stands behind a game show podium wearing a white shirt and black suit jacket.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">Matteaa Roach won a total $560,983 during their streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At just 24 years old, Roach is the youngest super champion competing. But that is certainly no reason to discount them — just like Amodio and Schneider, Roach boasts over 90% correct response accuracy.\u003c/p>\n\u003cp>Although Schneider, Amodio, and Roach are not the only super champions competing in the tournament, their track records are so dominant that the show’s producers felt the need to distinguish them from the rest of the field.\u003c/p>\n\u003cp>“We looked at Mattea, and Matt and Amy, we had to draw a distinction between them and the rest of our players,” executive producer Michael Davies said.\u003c/p>\n\u003ch3>The underdogs\u003c/h3>\n\u003cp>Generally, the contestants cast to appear in the TOC have either gone on long streaks of consecutive wins, or are winners of the show’s special tournaments, such as the college tournament or teacher’s tournament.\u003c/p>\n\u003cp>This year, however, two contestants competing in the tournament of champions have never won a game of regular season play.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1586432687354486784\u003c/p>\n\u003cp>Rowan Ward and Jessica Stephens both lost the first time they competed on the show. While losing on your first appearance has historically barred a contestant from returning, Ward and Stephens managed secured their spots in the TOC by winning the show’s Second Chance Competition, which was held for the first time this year.\u003c/p>\n\u003cp>[aside postid='arts_13907974']While some may be looking at the Second Chance competitors as underdogs, that’s certainly not how Ward sees it. They’re going into the tournament having unfinished business with Amodio, who defeated Ward on their first appearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And I want another shot at Matt Amodio,” Ward told NPR. “Whether I get it, who knows, but [I’m coming] into tournament of champions with all the confidence in the world.”\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=%27Jeopardy%21+Tournament+of+Champions%27+has+the+makings+of+being+the+greatest+yet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Jeopardy! Tournament of Champions\u003c/em> (TOC) is like the Super Bowl for trivia nerds, but even if you’re not a trivia fan, you may want to tune in this time.\u003c/p>\n\u003cp>This year’s cast is not only the most impressive group of competitors ever, but \u003cem>Jeopardy!\u003c/em> is also implementing a new structure that could make for the most exciting tournament in the show’s history.\u003c/p>\n\u003ch3>How the tournament works\u003c/h3>\n\u003cp>Every year, \u003cem>Jeopardy!\u003c/em> reconvenes a cast of its most dominant players from the previous season to compete in a tournament-style competition.\u003c/p>\n\u003cp>Over the course of two weeks, the contestants face off in a series of quarterfinal, semifinal and final rounds, all vying to make their mark in \u003cem>Jeopardy!\u003c/em> history, and a $250,000 prize.\u003c/p>\n\u003cp>Typically, 15 past players are invited back to compete in the tournament. This year, the contestant pool has increased to 21.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of those 21, 18 will play in TOC’s quarterfinal rounds, with the remaining three having been pre-selected to skip to the tournament’s semifinals.\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/AdqRBZVo4IA'\n title='//www.youtube.com/embed/AdqRBZVo4IA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But who are those pre-select semifinalists?\u003c/p>\n\u003ch3>Here are the super champs!\u003c/h3>\n\u003cp>The three pre-selected semifinal contestants are Amy Schneider, Matt Amodio, and Mattea Roach.\u003c/p>\n\u003cp>These three contestants are considered \u003cem>Jeopardy!\u003c/em> “super champions” (a title given to contestants who exceed 10 consecutive wins), with each of them having had one of the top five longest streaks of consecutive wins in regular season play.\u003c/p>\n\u003cp>\u003cstrong>Amy Schneider — 41 consecutive wins (2nd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1074-re-se-b126c7ced82f9fed357d8b07078fd884fe364f2b-800x600.jpg\" alt=\"A bespectacled woman in powder blue suit jacket stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Amy Schneider won a total $1,382,800 during her streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of breaking records, Schneider might be the most formidable contender in this year’s tournament. She holds the second longest streak of consecutive wins in the show’s history, is the highest winning female contestant, and is the first openly transgender contestant to qualify for the tournament of champions.\u003c/p>\n\u003cp>\u003cstrong>Matt Amodio — 38 consecutive wins (3rd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921173\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1081-re-se-6512fb61610bb25d1f44b7af15712bf000a734cf-800x600.jpg\" alt=\"A young man with tight curly black hair, wearing an argyle sweater stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Matt Amodio won a total $1,518,601 during his streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Amodio does not have the longest running streak amongst TOC contestants, his track record shows that he was more dominant than Schneider on a per-game basis. Amodio’s cumulative winnings on \u003cem>Jeopardy!\u003c/em> exceed Schneider’s by more than $100,000, despite having three fewer wins overall.\u003c/p>\n\u003cp>\u003cstrong>Mattea Roach — 23 consecutive wins (5th longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1086-re-se-ee8ceeb9b1422fc5e7bd9d9277b2118d0623fb81-800x601.jpg\" alt=\"A young woman with short hair and glasses stands behind a game show podium wearing a white shirt and black suit jacket.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">Matteaa Roach won a total $560,983 during their streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At just 24 years old, Roach is the youngest super champion competing. But that is certainly no reason to discount them — just like Amodio and Schneider, Roach boasts over 90% correct response accuracy.\u003c/p>\n\u003cp>Although Schneider, Amodio, and Roach are not the only super champions competing in the tournament, their track records are so dominant that the show’s producers felt the need to distinguish them from the rest of the field.\u003c/p>\n\u003cp>“We looked at Mattea, and Matt and Amy, we had to draw a distinction between them and the rest of our players,” executive producer Michael Davies said.\u003c/p>\n\u003ch3>The underdogs\u003c/h3>\n\u003cp>Generally, the contestants cast to appear in the TOC have either gone on long streaks of consecutive wins, or are winners of the show’s special tournaments, such as the college tournament or teacher’s tournament.\u003c/p>\n\u003cp>This year, however, two contestants competing in the tournament of champions have never won a game of regular season play.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some may be looking at the Second Chance competitors as underdogs, that’s certainly not how Ward sees it. They’re going into the tournament having unfinished business with Amodio, who defeated Ward on their first appearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And I want another shot at Matt Amodio,” Ward told NPR. “Whether I get it, who knows, but [I’m coming] into tournament of champions with all the confidence in the world.”\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=%27Jeopardy%21+Tournament+of+Champions%27+has+the+makings+of+being+the+greatest+yet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I can’t go one week without watching a horror film.\u003c/p>\n\u003cp>I’m really into horror, whether it’s books or films. At age 12 my girlfriends were living by Judy Blume, but I was reading Stephen King thrillers for the second time.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The first time I got detention in high school was for reading Clive Barker’s \u003cem>The Damnation Game \u003c/em>instead of the assigned book\u003cem>.\u003c/em> I thought I was slick too, sliding my newest horror book into my looseleaf notebook. I was so engrossed that I gasped in the middle of class, much to the dismay of my classmates and teacher. It was sort of hilarious. He took my book and handed me detention. I learned that he was a horror fan, and we chatted about our favorite authors. He ended up reading my book during detention and thanked me for turning him on to someone new.\u003c/p>\n\u003cp>My taste in films runs the gamut with classics like \u003cem>The Texas Chainsaw Massacre\u003c/em> and \u003cem>The Shining\u003c/em> to found footage films like \u003cem>Butterfly Kisses \u003c/em>and\u003cem> The Lost Footage of Leah Sullivan\u003c/em>. For the former, I cower in fear while enjoying the adrenaline rush. For the latter, I sometimes have fantasies of tossing my television through my living room window for wasting 75 to 90 minutes of my life. But yet I consistently (and dare I say, obsessively) want more.\u003c/p>\n\u003cp>My love of all things horror started when my mom let me read her “spooky books” (her endearing term for horror novels).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I waited with bated breath for my mom to finish her latest spooky read, because I knew that I got it next. I’d insert myself into this fictional world of monsters and demons living in terror to turn the next page. My mother read \u003cem>The Exorcist \u003c/em>by William Peter Blatty, and it definitely spooked her. I developed the courage to read it years later, then saw the movie against her wishes. It was the scariest movie I’ve ever watched to this day, and the only horror film I refuse to rewatch.\u003c/p>\n\u003ch3>Escaping a real-life monster\u003c/h3>\n\u003cfigure id=\"attachment_13921104\" class=\"wp-caption alignright\" style=\"max-width: 313px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe\" alt=\"A middle-aged Black woman helps a younger smiling Black woman put on a white prom-style dress.\" width=\"313\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40-160x213.jpe 160w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003cfigcaption class=\"wp-caption-text\">Prom night, 1990. We watched ‘Re-Animator’ when I got home. \u003ccite>(Nikki Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me years to fully realize why my mother loved those spooky books so much. Those horror stories gave my mother the courage to leave her abuser.\u003c/p>\n\u003cp>While my mother was putting on a brave face, she was dealing with her very own monster. I believe that her escapism into the horror genre allowed her to face her reality within a controlled environment.\u003c/p>\n\u003cp>She knew that her life wasn’t in danger when she read these books. Her empathy toward the characters being chased by monsters and possessed by demons, and the happy ending (well, sometimes) for these protagonists, is what I believe allowed her to think that she too can escape the monster on his way home from work, and have a happy ending.\u003c/p>\n\u003cp>My mother found her strength through reading these books. She built courage, faced her fear, and learned to fight. It was a form of catharsis for her. Purge and purification. The purging of her negative emotions like fear, anxiety, and low self-esteem. The purification of her newfound emotions of bravery, needing to annihilate her monster.\u003c/p>\n\u003ch3>Where my love of horror films began\u003c/h3>\n\u003cp>Novelists like Clive Barker and Stephen King dominated our little bookshelves, but it was a book by Jeffrey Konvitz that tilted me on my axis. \u003cem>The Sentinel\u003c/em> was written in 1977. I remember my mother hiding it in the freezer because she didn’t want me to read it. Of course I saw this as a challenge. Unfortunately, I did not get a chance to read that book until I was an adult. However, I did something much worse: I saw the movie. And that, dear reader, is where my love for 1970s and ‘80s horror films began.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z0YdJNeNXLE\u003c/p>\n\u003cp>This movie has everything: big movie stars like Cristina Raines, Burgess Meredith, Ava Gardner, Chris Sarandon and an adorably young Beverly D’Angelo. It had supermodels, penthouse apartments overlooking Central Park and a blind priest. And it had demons, both metaphorical and physical. This movie scared the bejesus out of me. And I wanted more.\u003c/p>\n\u003cp>In the days before streaming, you would visit video stores to rent your movies. We had Blockbuster, Erol’s Video and a ton of mom and pop shops. Every Friday, my mother and I would hit up these video stores for the best horror VHS tapes. She introduced me to movies like \u003cem>Ghost Story, Amityville Horror, Re-Animator, The Evil Dead \u003c/em>and so much more\u003cem>. \u003c/em>\u003c/p>\n\u003ch3>Passing down a love of horror\u003c/h3>\n\u003cp>I still watch these movies, typically in the early morning on the weekends while my husband and daughter are still sleeping. I think about my mother and feel a sense of calm and peace. I remember Bruce Campbell bringing her to tears through her laughter in \u003cem>The Evil Dead. \u003c/em>When it’s snowing outside, I’ll watch \u003cem>Ghost Story,\u003c/em> because she and I both loved the beauty of the snow in the film.\u003c/p>\n\u003cp>[aside postid='pop_109009']There are newer films that I’ve grown to love and/or respect — almost anything made by A24, Ari Aster, Blumhouse and Jordan Peele. Foreign horror, absolutely! IFC Midnight, holy smokes!\u003c/p>\n\u003cp>When I watch these newer films, I think about her reactions if she were alive today. I believe that my mother would be the biggest Jordan Peele fan because of \u003cem>Us. \u003c/em>She’d probably check out \u003cem>Hereditary \u003c/em>twice. \u003cem>Speak No Evil\u003c/em> would leave her speechless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My mother passed down her love of horror to me. These books and films gave her courage, and she wanted me to live courageously. In her eyes, this genre would help her help me to be the strong and independent woman that I am today. She was right.\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=My+mom+passed+down+her+love+of+horror+to+me+%E2%80%94+and+a+big+lesson+about+courage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I can’t go one week without watching a horror film.\u003c/p>\n\u003cp>I’m really into horror, whether it’s books or films. At age 12 my girlfriends were living by Judy Blume, but I was reading Stephen King thrillers for the second time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first time I got detention in high school was for reading Clive Barker’s \u003cem>The Damnation Game \u003c/em>instead of the assigned book\u003cem>.\u003c/em> I thought I was slick too, sliding my newest horror book into my looseleaf notebook. I was so engrossed that I gasped in the middle of class, much to the dismay of my classmates and teacher. It was sort of hilarious. He took my book and handed me detention. I learned that he was a horror fan, and we chatted about our favorite authors. He ended up reading my book during detention and thanked me for turning him on to someone new.\u003c/p>\n\u003cp>My taste in films runs the gamut with classics like \u003cem>The Texas Chainsaw Massacre\u003c/em> and \u003cem>The Shining\u003c/em> to found footage films like \u003cem>Butterfly Kisses \u003c/em>and\u003cem> The Lost Footage of Leah Sullivan\u003c/em>. For the former, I cower in fear while enjoying the adrenaline rush. For the latter, I sometimes have fantasies of tossing my television through my living room window for wasting 75 to 90 minutes of my life. But yet I consistently (and dare I say, obsessively) want more.\u003c/p>\n\u003cp>My love of all things horror started when my mom let me read her “spooky books” (her endearing term for horror novels).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I waited with bated breath for my mom to finish her latest spooky read, because I knew that I got it next. I’d insert myself into this fictional world of monsters and demons living in terror to turn the next page. My mother read \u003cem>The Exorcist \u003c/em>by William Peter Blatty, and it definitely spooked her. I developed the courage to read it years later, then saw the movie against her wishes. It was the scariest movie I’ve ever watched to this day, and the only horror film I refuse to rewatch.\u003c/p>\n\u003ch3>Escaping a real-life monster\u003c/h3>\n\u003cfigure id=\"attachment_13921104\" class=\"wp-caption alignright\" style=\"max-width: 313px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe\" alt=\"A middle-aged Black woman helps a younger smiling Black woman put on a white prom-style dress.\" width=\"313\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40-160x213.jpe 160w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003cfigcaption class=\"wp-caption-text\">Prom night, 1990. We watched ‘Re-Animator’ when I got home. \u003ccite>(Nikki Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me years to fully realize why my mother loved those spooky books so much. Those horror stories gave my mother the courage to leave her abuser.\u003c/p>\n\u003cp>While my mother was putting on a brave face, she was dealing with her very own monster. I believe that her escapism into the horror genre allowed her to face her reality within a controlled environment.\u003c/p>\n\u003cp>She knew that her life wasn’t in danger when she read these books. Her empathy toward the characters being chased by monsters and possessed by demons, and the happy ending (well, sometimes) for these protagonists, is what I believe allowed her to think that she too can escape the monster on his way home from work, and have a happy ending.\u003c/p>\n\u003cp>My mother found her strength through reading these books. She built courage, faced her fear, and learned to fight. It was a form of catharsis for her. Purge and purification. The purging of her negative emotions like fear, anxiety, and low self-esteem. The purification of her newfound emotions of bravery, needing to annihilate her monster.\u003c/p>\n\u003ch3>Where my love of horror films began\u003c/h3>\n\u003cp>Novelists like Clive Barker and Stephen King dominated our little bookshelves, but it was a book by Jeffrey Konvitz that tilted me on my axis. \u003cem>The Sentinel\u003c/em> was written in 1977. I remember my mother hiding it in the freezer because she didn’t want me to read it. Of course I saw this as a challenge. Unfortunately, I did not get a chance to read that book until I was an adult. However, I did something much worse: I saw the movie. And that, dear reader, is where my love for 1970s and ‘80s horror films began.\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/Z0YdJNeNXLE'\n title='//www.youtube.com/embed/Z0YdJNeNXLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This movie has everything: big movie stars like Cristina Raines, Burgess Meredith, Ava Gardner, Chris Sarandon and an adorably young Beverly D’Angelo. It had supermodels, penthouse apartments overlooking Central Park and a blind priest. And it had demons, both metaphorical and physical. This movie scared the bejesus out of me. And I wanted more.\u003c/p>\n\u003cp>In the days before streaming, you would visit video stores to rent your movies. We had Blockbuster, Erol’s Video and a ton of mom and pop shops. Every Friday, my mother and I would hit up these video stores for the best horror VHS tapes. She introduced me to movies like \u003cem>Ghost Story, Amityville Horror, Re-Animator, The Evil Dead \u003c/em>and so much more\u003cem>. \u003c/em>\u003c/p>\n\u003ch3>Passing down a love of horror\u003c/h3>\n\u003cp>I still watch these movies, typically in the early morning on the weekends while my husband and daughter are still sleeping. I think about my mother and feel a sense of calm and peace. I remember Bruce Campbell bringing her to tears through her laughter in \u003cem>The Evil Dead. \u003c/em>When it’s snowing outside, I’ll watch \u003cem>Ghost Story,\u003c/em> because she and I both loved the beauty of the snow in the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are newer films that I’ve grown to love and/or respect — almost anything made by A24, Ari Aster, Blumhouse and Jordan Peele. Foreign horror, absolutely! IFC Midnight, holy smokes!\u003c/p>\n\u003cp>When I watch these newer films, I think about her reactions if she were alive today. I believe that my mother would be the biggest Jordan Peele fan because of \u003cem>Us. \u003c/em>She’d probably check out \u003cem>Hereditary \u003c/em>twice. \u003cem>Speak No Evil\u003c/em> would leave her speechless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My mother passed down her love of horror to me. These books and films gave her courage, and she wanted me to live courageously. In her eyes, this genre would help her help me to be the strong and independent woman that I am today. She was right.\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=My+mom+passed+down+her+love+of+horror+to+me+%E2%80%94+and+a+big+lesson+about+courage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Goosebumps’ is Turning 30 — The Scariest Part is How Old That Makes You",
"headTitle": "‘Goosebumps’ is Turning 30 — The Scariest Part is How Old That Makes You | KQED",
"content": "\u003cp>There are plenty of cockroaches in New York City, but at R.L. Stine’s house, you’ll find a 3 foot one.\u003c/p>\n\u003cp>OK, not an actual roach. It was just one of the many horror-based knick knacks lying around his office, which was filled with \u003cem>Goosebumps\u003c/em> lunchboxes and dolls and, of course, books.\u003c/p>\n\u003cp>[aside postid='arts_13888122']Was that slight mis-direct about the roach kind of cheap? An easy way to (hopefully) hook a reader? Absolutely. But it’s the kind of thing that Stine has built his career on — cheap tricks and teases. “\u003cem>Goosebumps\u003c/em> is mostly teases,” he says.\u003c/p>\n\u003cp>“I don’t really want to terrify kids. It’s not what I really want. If I think a scene is getting too scary, too intense, I throw in something funny.”\u003c/p>\n\u003cp>Stine’s mega-popular kids book series \u003cem>Goosebumps\u003c/em> turns 30 this year. It’s a franchise that’s spawned TV shows, movies and even more books. And even if its popularity has waned in recent years (“I don’t have the same sales as the ‘90s. We \u003cem>love\u003c/em> the ‘90s,” he says), the series continues to have its hooks, tentacles, or some other creepy tendrils around fans today.\u003c/p>\n\u003ch3>Coming to terms with becoming nostalgia\u003c/h3>\n\u003cfigure id=\"attachment_13921089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0129-988d40ff0578e23bcbd1d718385f8f16173c5071-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bookshelves are filled with ‘Goosebumps’ books and fun-filled knick knacks in Stine’s home. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stine is celebrating the anniversary with a \u003ca href=\"https://us.macmillan.com/books/9781250836267/stinetinglers\">couple of\u003c/a> \u003ca href=\"https://shop.scholastic.com/parent-ecommerce/books/goosebumps-slappy-beware-9781338847079.html\">new books\u003c/a> and a handful of appearances. When we met, he was fresh from an appearance at New York City Comic Con, meeting and greeting a hoard of fans, and he was getting ready to appear at the Library of Congress to take questions from children. In a way, Stine is in a sweet spot with his audience — his original fan base is now old enough to be sharing \u003cem>Goosebumps\u003c/em> with their own kids. “You get old. That’s a tough pill to swallow,” he says. “Terrible. But what a thrill. I get to scare a lot of generations, don’t I?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stine is originally from Ohio. He moved to New York with big dreams of becoming a writer — just not the type of writer he became. He started out as a humorist, editing a kids magazine at Scholastic. One day in the ‘80s, he was having lunch with his friend Jean Feiwel, who was also an editor at Scholastic. She was supposed to be working on a horror book for teens called \u003cem>Blind Date\u003c/em>, but the author had just dropped out. Desperate, she told Stine that \u003cem>he\u003c/em> could write a horror novel for teenagers.\u003c/p>\n\u003cp>“I didn’t know what she was talking about,” he says. “‘What’s a horror novel for teenagers?’”\u003c/p>\n\u003cp>“I was on a timeline,” recalls Feiwel. “I said ‘You know, like any blind date, it could turn horrific, so I’m sure you could find the horror in it. And the humor in it.’”\u003c/p>\n\u003cp>Stine ran to a nearby bookstore and picked up anyone who was writing teen horror — Christopher Pike, Lois Duncan. He was a quick study. Feiwel guesses that he got the book written in about a week: “And I said, ‘Oh my God, you’ve got a whole new career here.’”\u003c/p>\n\u003ch3>What the first ‘Goosebumps’ book got wrong\u003c/h3>\n\u003cfigure id=\"attachment_13921088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0093_custom-a29d47b5ea29b5110b5fd9b30dc3dc2ec9ecaea9-800x599.jpg\" alt=\"A senior gentleman, dressed in all black and wearing spectacles, sits in an armchair next to a life-size skeleton. Behind him are packed bookshelves and a window.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Horror author R.L. Stine sits next to a skeleton in his home in New York City. Stine’s mega-popular kids book series ‘Goosebumps’ turns 30 this year. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Blind Date\u003c/em> worked for teenagers, Stine shifted to writing a series for younger kids, at an age range book industry people call “middle grade.” The first \u003cem>Goosebumps\u003c/em> book\u003cem> Welcome to Dead House\u003c/em> was published in 1992. It’s about a family who moves into a creaky old house in a small town. Early on, Amanda has to go out looking for her brother, who’s gone missing. She finds him in a graveyard, of course.\u003c/p>\n\u003cblockquote>\u003cp>I stepped down from the car, took a few steps onto the grass and called to him. At first he didn’t react to my shouts. He seemed to be ducking and dodging through the tombstones. He would run in one direction, then cut to the side, then head in another direction.\u003c/p>\n\u003cp>Why was he doing that?\u003c/p>\n\u003cp>I took another few steps — and then stopped, gripped with fear.\u003c/p>\n\u003cp>I suddenly realized why Josh was darting and ducking like that, running so wildly through the tombstones. He was being chased.\u003c/p>\n\u003cp>Someone or — something — was after him.\u003c/p>\u003c/blockquote>\n\u003cp>Stine now says he thinks this book is actually too scary — he hadn’t quite nailed down the balance between funny and frightful — but it had an effect on lots of young readers, like India Hill Brown. “I remember reading it as a kid, it was so scary,” says Brown. “And I remember reading it as an adult, it was so scary,” she laughs.\u003c/p>\n\u003cp>Brown \u003ca href=\"https://indiahillbrown.com/\">is the author\u003c/a> of two horror books for kids — \u003cem>The Forgotten Girl\u003c/em> and \u003cem>The Girl in the Lake\u003c/em>. She’d actually returned to \u003cem>Welcome to Dead House\u003c/em> when working on her first book, during a rough patch of writer’s block. It helped her focus on “what made me love middle grade horror.”\u003c/p>\n\u003cp>[aside postid='arts_13901163']It’s an interesting age, before you’ve realized that growing up is kind of awful. You’re on the precipice of not wanting to be a kid anymore — which is why \u003cem>Goosebumps\u003c/em> protagonists tend to be 12 years old — just a little older than the target age range. You want to have a little independence, a touch of agency, but also feel safe. “My one rule for writing for 7 to 11 year olds is they can’t think it’s going to be real. They have to know it’s a fantasy. And then I can go pretty far with the scares,” says Stine.\u003c/p>\n\u003cp>It took a while for the \u003cem>Goosebumps\u003c/em> hype train to take off, but when it did, it hit big. It inspired a kids TV show, merch and — to a certain type of superfan — the books themselves became collectables.\u003c/p>\n\u003cp>“I remember scouring bookstores each month when the next \u003cem>Goosebumps\u003c/em> was supposed to come out,” superfan Brian Stelter tells me.\u003c/p>\n\u003cp>Stelter is best known for being the former chief media correspondent for CNN and host of the show \u003cem>Reliable Sources\u003c/em>, but in the world of \u003cem>Goosebumps\u003c/em> he’s famous for having created the fansite \u003ca href=\"https://web.archive.org/web/19980504145909/http://thebumps.com:80/\">The Bumps\u003c/a>. It wasn’t just any \u003cem>Goosebumps\u003c/em> fansite: Stelter, slightly biased, called it the “number one unofficial \u003cem>Goosebumps\u003c/em> website.” To Stelter, the fact that he had competition online shows the power and reach of Stine’s books. “There were all these websites, including my own, that were \u003cem>obsessed\u003c/em> with his creations and wanting to talk and share even more about them.”\u003c/p>\n\u003cp>Feiwel, the former Scholastic editor, said with \u003cem>Goosebumps\u003c/em>, Stine pulled off a spectacular feat. Nobody back then was writing horror for middle grade kids. And Stine got them — boys in particular — reading.\u003c/p>\n\u003ch3>When parents tried to ban ‘Goosebumps’\u003c/h3>\n\u003cfigure id=\"attachment_13921090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg\" alt=\"A pink and purple book cover decorated with a forboding haunted house.\" width=\"800\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-768x1121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1.jpg 822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first ‘Goosebumps’ book, ‘Welcome to Dead House,’ was published in 1992. \u003ccite>(Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1997, a small group of parents in a Minneapolis suburb tried to get \u003ca href=\"https://archive.mpr.org/stories/1997/01/15/goosebumpshearing-whether-ban-scary-books\">\u003cem>Goosebumps\u003c/em> pulled from elementary school libraries\u003c/a>. They claimed that the series wasn’t fostering healthy values in children, and that it was too scary. Stine chalked that up to parents who were just frightened by the covers, and didn’t actually read the books. The push to restrict the books eventually failed.\u003c/p>\n\u003cp>[aside postid='arts_13918019']“We had so much support from teachers, librarians and reading teachers who saw that kids really went for them,” says Stine. “It really helped us a lot back then. They were always right behind \u003cem>Goosebumps\u003c/em>.”\u003c/p>\n\u003cp>Now would be the part of the profile where I tie something Stine said to a bigger story going on in the news — like the \u003ca href=\"https://www.npr.org/2022/09/19/1123156201/new-report-finds-a-coordinated-rise-in-attempted-book-bans\">recent rash of book bannings\u003c/a>. Or maybe land on a tidy summation of Stine’s work that points to a deeper meaning — like how ‘Goosebumps\u003cem>,’\u003c/em> like all good horror, actually plays off deeper, eternal fears: Do my friends like me? Are my parents acting weird?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But \u003cem>Goosebumps\u003c/em>, for the past 30 years, has consistently, stubbornly, avoided deeper meanings or bigger lessons. In a way, those parents had a point. Stine wasn’t interested in teaching kids healthy values. He’s never been interested in teaching kids anything. Other than: Keep reading to find out what happens next.\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=%27Goosebumps%27+is+turning+30+%E2%80%94+the+scariest+part+is+how+old+that+makes+you&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are plenty of cockroaches in New York City, but at R.L. Stine’s house, you’ll find a 3 foot one.\u003c/p>\n\u003cp>OK, not an actual roach. It was just one of the many horror-based knick knacks lying around his office, which was filled with \u003cem>Goosebumps\u003c/em> lunchboxes and dolls and, of course, books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Was that slight mis-direct about the roach kind of cheap? An easy way to (hopefully) hook a reader? Absolutely. But it’s the kind of thing that Stine has built his career on — cheap tricks and teases. “\u003cem>Goosebumps\u003c/em> is mostly teases,” he says.\u003c/p>\n\u003cp>“I don’t really want to terrify kids. It’s not what I really want. If I think a scene is getting too scary, too intense, I throw in something funny.”\u003c/p>\n\u003cp>Stine’s mega-popular kids book series \u003cem>Goosebumps\u003c/em> turns 30 this year. It’s a franchise that’s spawned TV shows, movies and even more books. And even if its popularity has waned in recent years (“I don’t have the same sales as the ‘90s. We \u003cem>love\u003c/em> the ‘90s,” he says), the series continues to have its hooks, tentacles, or some other creepy tendrils around fans today.\u003c/p>\n\u003ch3>Coming to terms with becoming nostalgia\u003c/h3>\n\u003cfigure id=\"attachment_13921089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0129-988d40ff0578e23bcbd1d718385f8f16173c5071-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bookshelves are filled with ‘Goosebumps’ books and fun-filled knick knacks in Stine’s home. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stine is celebrating the anniversary with a \u003ca href=\"https://us.macmillan.com/books/9781250836267/stinetinglers\">couple of\u003c/a> \u003ca href=\"https://shop.scholastic.com/parent-ecommerce/books/goosebumps-slappy-beware-9781338847079.html\">new books\u003c/a> and a handful of appearances. When we met, he was fresh from an appearance at New York City Comic Con, meeting and greeting a hoard of fans, and he was getting ready to appear at the Library of Congress to take questions from children. In a way, Stine is in a sweet spot with his audience — his original fan base is now old enough to be sharing \u003cem>Goosebumps\u003c/em> with their own kids. “You get old. That’s a tough pill to swallow,” he says. “Terrible. But what a thrill. I get to scare a lot of generations, don’t I?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stine is originally from Ohio. He moved to New York with big dreams of becoming a writer — just not the type of writer he became. He started out as a humorist, editing a kids magazine at Scholastic. One day in the ‘80s, he was having lunch with his friend Jean Feiwel, who was also an editor at Scholastic. She was supposed to be working on a horror book for teens called \u003cem>Blind Date\u003c/em>, but the author had just dropped out. Desperate, she told Stine that \u003cem>he\u003c/em> could write a horror novel for teenagers.\u003c/p>\n\u003cp>“I didn’t know what she was talking about,” he says. “‘What’s a horror novel for teenagers?’”\u003c/p>\n\u003cp>“I was on a timeline,” recalls Feiwel. “I said ‘You know, like any blind date, it could turn horrific, so I’m sure you could find the horror in it. And the humor in it.’”\u003c/p>\n\u003cp>Stine ran to a nearby bookstore and picked up anyone who was writing teen horror — Christopher Pike, Lois Duncan. He was a quick study. Feiwel guesses that he got the book written in about a week: “And I said, ‘Oh my God, you’ve got a whole new career here.’”\u003c/p>\n\u003ch3>What the first ‘Goosebumps’ book got wrong\u003c/h3>\n\u003cfigure id=\"attachment_13921088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0093_custom-a29d47b5ea29b5110b5fd9b30dc3dc2ec9ecaea9-800x599.jpg\" alt=\"A senior gentleman, dressed in all black and wearing spectacles, sits in an armchair next to a life-size skeleton. Behind him are packed bookshelves and a window.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Horror author R.L. Stine sits next to a skeleton in his home in New York City. Stine’s mega-popular kids book series ‘Goosebumps’ turns 30 this year. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Blind Date\u003c/em> worked for teenagers, Stine shifted to writing a series for younger kids, at an age range book industry people call “middle grade.” The first \u003cem>Goosebumps\u003c/em> book\u003cem> Welcome to Dead House\u003c/em> was published in 1992. It’s about a family who moves into a creaky old house in a small town. Early on, Amanda has to go out looking for her brother, who’s gone missing. She finds him in a graveyard, of course.\u003c/p>\n\u003cblockquote>\u003cp>I stepped down from the car, took a few steps onto the grass and called to him. At first he didn’t react to my shouts. He seemed to be ducking and dodging through the tombstones. He would run in one direction, then cut to the side, then head in another direction.\u003c/p>\n\u003cp>Why was he doing that?\u003c/p>\n\u003cp>I took another few steps — and then stopped, gripped with fear.\u003c/p>\n\u003cp>I suddenly realized why Josh was darting and ducking like that, running so wildly through the tombstones. He was being chased.\u003c/p>\n\u003cp>Someone or — something — was after him.\u003c/p>\u003c/blockquote>\n\u003cp>Stine now says he thinks this book is actually too scary — he hadn’t quite nailed down the balance between funny and frightful — but it had an effect on lots of young readers, like India Hill Brown. “I remember reading it as a kid, it was so scary,” says Brown. “And I remember reading it as an adult, it was so scary,” she laughs.\u003c/p>\n\u003cp>Brown \u003ca href=\"https://indiahillbrown.com/\">is the author\u003c/a> of two horror books for kids — \u003cem>The Forgotten Girl\u003c/em> and \u003cem>The Girl in the Lake\u003c/em>. She’d actually returned to \u003cem>Welcome to Dead House\u003c/em> when working on her first book, during a rough patch of writer’s block. It helped her focus on “what made me love middle grade horror.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an interesting age, before you’ve realized that growing up is kind of awful. You’re on the precipice of not wanting to be a kid anymore — which is why \u003cem>Goosebumps\u003c/em> protagonists tend to be 12 years old — just a little older than the target age range. You want to have a little independence, a touch of agency, but also feel safe. “My one rule for writing for 7 to 11 year olds is they can’t think it’s going to be real. They have to know it’s a fantasy. And then I can go pretty far with the scares,” says Stine.\u003c/p>\n\u003cp>It took a while for the \u003cem>Goosebumps\u003c/em> hype train to take off, but when it did, it hit big. It inspired a kids TV show, merch and — to a certain type of superfan — the books themselves became collectables.\u003c/p>\n\u003cp>“I remember scouring bookstores each month when the next \u003cem>Goosebumps\u003c/em> was supposed to come out,” superfan Brian Stelter tells me.\u003c/p>\n\u003cp>Stelter is best known for being the former chief media correspondent for CNN and host of the show \u003cem>Reliable Sources\u003c/em>, but in the world of \u003cem>Goosebumps\u003c/em> he’s famous for having created the fansite \u003ca href=\"https://web.archive.org/web/19980504145909/http://thebumps.com:80/\">The Bumps\u003c/a>. It wasn’t just any \u003cem>Goosebumps\u003c/em> fansite: Stelter, slightly biased, called it the “number one unofficial \u003cem>Goosebumps\u003c/em> website.” To Stelter, the fact that he had competition online shows the power and reach of Stine’s books. “There were all these websites, including my own, that were \u003cem>obsessed\u003c/em> with his creations and wanting to talk and share even more about them.”\u003c/p>\n\u003cp>Feiwel, the former Scholastic editor, said with \u003cem>Goosebumps\u003c/em>, Stine pulled off a spectacular feat. Nobody back then was writing horror for middle grade kids. And Stine got them — boys in particular — reading.\u003c/p>\n\u003ch3>When parents tried to ban ‘Goosebumps’\u003c/h3>\n\u003cfigure id=\"attachment_13921090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg\" alt=\"A pink and purple book cover decorated with a forboding haunted house.\" width=\"800\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-768x1121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1.jpg 822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first ‘Goosebumps’ book, ‘Welcome to Dead House,’ was published in 1992. \u003ccite>(Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1997, a small group of parents in a Minneapolis suburb tried to get \u003ca href=\"https://archive.mpr.org/stories/1997/01/15/goosebumpshearing-whether-ban-scary-books\">\u003cem>Goosebumps\u003c/em> pulled from elementary school libraries\u003c/a>. They claimed that the series wasn’t fostering healthy values in children, and that it was too scary. Stine chalked that up to parents who were just frightened by the covers, and didn’t actually read the books. The push to restrict the books eventually failed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We had so much support from teachers, librarians and reading teachers who saw that kids really went for them,” says Stine. “It really helped us a lot back then. They were always right behind \u003cem>Goosebumps\u003c/em>.”\u003c/p>\n\u003cp>Now would be the part of the profile where I tie something Stine said to a bigger story going on in the news — like the \u003ca href=\"https://www.npr.org/2022/09/19/1123156201/new-report-finds-a-coordinated-rise-in-attempted-book-bans\">recent rash of book bannings\u003c/a>. Or maybe land on a tidy summation of Stine’s work that points to a deeper meaning — like how ‘Goosebumps\u003cem>,’\u003c/em> like all good horror, actually plays off deeper, eternal fears: Do my friends like me? Are my parents acting weird?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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