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"content": "\u003cp>I am not a psychic. I’m a tennis fan. But I have a prediction: I believe this weekend’s Laver Cup will be one of the most watched sporting events ever. \u003ca href=\"https://lavercup.com/\">The Laver Cup \u003c/a>pits six of the top men’s tennis players from any part of Europe against six of the top men’s tennis players from the rest of the world, in a Ryder Cup-like tournament. It’s Team Europe versus Team World.\u003c/p>\n\u003cp>No, it’s not the Super Bowl. It’s not the NBA championship. It’s not the Olympics. But it is the last opportunity you will have to see three of the greatest athletes who ever walked this Earth: Roger Federer, Rafael Nadal and Novak Djokovic play together, on Team Europe.\u003c/p>\n\u003cp>[aside postid='arts_13916840']It is a historic moment that any sports fan needs to watch. These three athletes have dominated a sport in such a way that it is hard to imagine Grand Slam tennis without them.\u003c/p>\n\u003cp>Back in 2003, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1291513\" target=\"_blank\" rel=\"noopener noreferrer\">I referred to Pete Sampras\u003c/a> as the best tennis player that ever lived. Which he was. At that time, I never thought we’d see another like him. Let alone three. (Remember, I’m \u003cem>just\u003c/em> talking men here. Don’t even get me started on Serena and her \u003cem>23\u003c/em> Grand Slam titles. Serena is a whole other story. Can you say GOAT, GOAT, GOAT?)\u003c/p>\n\u003cp>But since Federer won his first Wimbledon final in 2003, the Big Three—as they are known—have cumulatively won 63 Grand Slam titles. Only 14 Grand Slams in that timeframe have been won by men not named Federer, Nadal or Djokovic. (Ironically, that’s the same number of Grand Slams that Pete Sampras won, before the Big Three came on the scene and obliterated his reign as the GOAT.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After this weekend, we may still see Rafa. And we may still see Novak going for more Grand Slams. But the one that started it all? The first of the Big Three—Roger Federer? We will never have the chance to see him play another Grand Slam again. This weekend is his good-bye. What better way for him to go out than alongside his two greatest rivals?\u003c/p>\n\u003cfigure id=\"attachment_13919524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-800x500.png\" alt=\"Two tennis players on the same side of the net wearing matching blue t-shirts and white shorts. They are gesturing in celebration.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM.png 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Federer, left, and Novak Djokovic celebrate a point at the Laver Cup in Chicago, Ill., in September 2018. \u003ccite>(Clive Brunskill/Getty Images for The Laver Cup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So thank you, Roger, thank you, Rafa, thank you, Novak. You are the GOATs. Plural. People can argue back and forth why any one of you is the greatest of all time. And they’d all be right. We are all blessed to have watched all of you play against each other. Sure, without all three of you in the mix, maybe one of you alone would hold all 63 Grand Slam titles. But it would’ve been utterly boring. And I doubt it would’ve happened. Your three-way rivalry made each of you a better player.\u003c/p>\n\u003cp>[aside postid='arts_13913451']I, personally, am an avid Rafael Nadal fan. Though I have rooted against Novak and Roger when they were playing Rafa, I have always respected them all. How can you not? And, this weekend, I will be rooting for all three of them. My prediction and hope is that the whole world will be watching with me.\u003c/p>\n\u003cp>Sorry Team World captain John McEnroe. Sorry Team World teammate, Frances Tiafoe. Love ya both. But this weekend? I’m all Team Europe!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jane Braden is a writer and former sports editor. Her essays have also been heard on NPR’s \u003c/em>Weekend Edition. \u003cem>She works in the corporate sponsorship department at VPM NPR & PBS in Richmond, Va.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Laver+Cup+is+your+last+chance+to+see+tennis%27+%27Big+Three%27+together+on+the+court&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>After this weekend, we may still see Rafa. And we may still see Novak going for more Grand Slams. But the one that started it all? The first of the Big Three—Roger Federer? We will never have the chance to see him play another Grand Slam again. This weekend is his good-bye. What better way for him to go out than alongside his two greatest rivals?\u003c/p>\n\u003cfigure id=\"attachment_13919524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-800x500.png\" alt=\"Two tennis players on the same side of the net wearing matching blue t-shirts and white shorts. They are gesturing in celebration.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-22-at-3.38.21-PM.png 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Federer, left, and Novak Djokovic celebrate a point at the Laver Cup in Chicago, Ill., in September 2018. \u003ccite>(Clive Brunskill/Getty Images for The Laver Cup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So thank you, Roger, thank you, Rafa, thank you, Novak. You are the GOATs. Plural. People can argue back and forth why any one of you is the greatest of all time. And they’d all be right. We are all blessed to have watched all of you play against each other. Sure, without all three of you in the mix, maybe one of you alone would hold all 63 Grand Slam titles. But it would’ve been utterly boring. And I doubt it would’ve happened. Your three-way rivalry made each of you a better player.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I, personally, am an avid Rafael Nadal fan. Though I have rooted against Novak and Roger when they were playing Rafa, I have always respected them all. How can you not? And, this weekend, I will be rooting for all three of them. My prediction and hope is that the whole world will be watching with me.\u003c/p>\n\u003cp>Sorry Team World captain John McEnroe. Sorry Team World teammate, Frances Tiafoe. Love ya both. But this weekend? I’m all Team Europe!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jane Braden is a writer and former sports editor. Her essays have also been heard on NPR’s \u003c/em>Weekend Edition. \u003cem>She works in the corporate sponsorship department at VPM NPR & PBS in Richmond, Va.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Laver+Cup+is+your+last+chance+to+see+tennis%27+%27Big+Three%27+together+on+the+court&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the Investigation of Adnan Syed Became a Podcast Phenomenon",
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"content": "\u003cp>“Adnan’s case was a mess. Is a mess. That’s where we were when we stopped reporting in 2014,” says \u003cem>Serial\u003c/em> host Sarah Koenig in her straightforward, personal style in the new episode titled “\u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Adnan is Out\u003c/a>.”\u003c/p>\n\u003cp>In 2014, over the course of 12 episodes, \u003cem>Serial\u003c/em> probed the details of the murder case of Hae Min Lee, Adnan Syed’s former girlfriend. Lee was found strangled to death in Baltimore’s Leakin Park in 1999.\u003c/p>\n\u003cp>[aside postid='pop_109009']In 2000, Syed was convicted of murdering Lee when he was 17 years old. He spent 23 years in prison. On Monday, in a Baltimore courtroom, a judge \u003ca href=\"https://www.npr.org/2022/09/19/1123878679/adnan-syed-released-serial\" target=\"_blank\" rel=\"noopener noreferrer\">ruled\u003c/a> to vacate his conviction.\u003c/p>\n\u003cp>Beyond the tremendous impact \u003cem>Serial\u003c/em> has had on Syed’s case and on exposing the flaws in the legal system, the podcast broke new ground in episodic, audio storytelling.\u003c/p>\n\u003cp>Created and produced by Koenig and Julie Snyder, \u003cem>Serial\u003c/em> was a spinoff of \u003ca href=\"https://www.thisamericanlife.org/about/our-other-shows#:~:text=Released%20in%2012%20episodes%2C%20Serial,more%20than%20300%20million%20downloads.\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This American Life\u003c/em>\u003c/a>. With some 300 million downloads, the first season broke podcast records and spawned a cottage industry of true crime podcasts. It won just about every major journalism award including a DuPont and a Peabody, the first ever awarded to a podcast. Koenig was named one of \u003cem>Time\u003c/em>‘s \u003ca href=\"https://time.com/collection-post/3823276/sarah-koenig-2015-time-100/\" target=\"_blank\" rel=\"noopener noreferrer\">Most Influential People\u003c/a> of 2015.\u003c/p>\n\u003cfigure id=\"attachment_13919442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-475459240_custom-a900006c0c1464b294dc3b53d78b3e441a600753-800x555.jpg\" alt=\"A woman wearing black dress, white pearls and black spectacles smiles as she holds up a trophy.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Sarah Koenig with her award at The 74th Annual Peabody Awards Ceremony at Cipriani Wall Street in New York City on May 31, 2015. \u003ccite>(Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barry Scheck, co-director of The Innocence Project, learned about \u003cem>Serial\u003c/em> from his kids. At the time, podcasting experienced something of a generational divide. He believes dogged reporting, a reliance on experts and propulsive storytelling were key to its success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the way Koenig connected the audience with \u003cem>Serial\u003c/em>‘s reporting made for compelling listening. “One of the intriguing parts of the \u003cem>Serial\u003c/em> podcast is that everybody heard her thought processes out loud,” says Scheck, “and that’s part of the appeal of it. You know, we’re all in this together trying to think, ‘Is he innocent? Is he guilty?'”\u003c/p>\n\u003cp>There’s the story and then there’s the discussion it provoked. In the case of \u003cem>Serial\u003c/em>, they worked in tandem.\u003c/p>\n\u003cp>[aside postid='pop_19352']The \u003cem>Serial\u003c/em> phenomenon was not just about trying to solve the crime itself. It was also about the vast community devouring each episode and then picking it apart online. Journalists at \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2014/12/serial-episode-10-cristinas-world/383432/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> blogged about it. \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener noreferrer\">A place to discuss Serial: The Podcast\u003c/a> on Reddit reached more than 72,000 members.\u003c/p>\n\u003cp>As Christopher Dunn, Legal Director of the New York Civil Liberties Union, \u003ca href=\"https://www.nyclu.org/en/publications/column-serial-podcast-and-disparate-impact-civil-rights-and-real-world-new-york-law\" target=\"_blank\" rel=\"noopener noreferrer\">marveled\u003c/a> in 2015, \u003cem>Serial\u003c/em> “unleashed a spirited and wide-ranging civil rights debate on the internet,” he wrote. “Most significantly, the discussion forum Reddit, which is enormously popular with young people, exploded with commentary from tens of thousands of people who debated and investigated every aspect of the case, many of which the podcast had not addressed.”\u003c/p>\n\u003cp>The idea to delve into Syed’s case originated with Rabia Chaudry, a lawyer and one of Syed’s friends and supporters. She pitched the idea to Koenig. As \u003cem>Serial \u003c/em>unfolded, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry blogged\u003c/a> about each episode, sharing her knowledge of the case and airing complaints about the way she felt producers were handling aspects of the story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.patheos.com/blogs/splitthemoon/2014/10/lets-give-them-something-to-talk-about/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry was also struck\u003c/a> by how her views were becoming part of the narrative. “I realized that while I and others close to Adnan were mired in the minutiae of both the case and show, we were part of that case and show for the public. \u003ca href=\"http://www.slate.com/blogs/browbeat/2014/10/27/rabia_chaudry_blogs_about_adnan_syed_and_recaps_the_serial_podcast_on_split.html\" target=\"_blank\" rel=\"noopener noreferrer\">Our interactions online were being discussed\u003c/a>, we were being judged and assessed, we were adding both entertainment and substantive value to the discourse. We were also characters in the larger story,” she wrote.\u003c/p>\n\u003cp>Chaudry went on to write her book and produce a podcast about Syed. She’s also an Executive Producer on \u003ca href=\"https://www.hbo.com/the-case-against-adnan-syed\">\u003cem>The Case Against Adnan Syed\u003c/em>\u003c/a>, a four-part HBO documentary series.\u003c/p>\n\u003cp>While Scheck is pleased to see all of the other true crime podcasts \u003cem>Serial\u003c/em> inspired, he urges caution to anyone who thinks it’s easy to do it well.\u003c/p>\n\u003cp>[aside postid='pop_14701']“It’s one thing to have a podcast and try to tell a story. It’s quite another to get into the business of exposing a wrongful conviction,” he says.\u003c/p>\n\u003cp>Scheck says \u003cem>Serial\u003c/em> benefitted from a team that knew what they didn’t know.\u003c/p>\n\u003cp>“What was great about \u003cem>Serial\u003c/em> is that they made no pretense at every turn,” says Scheck. “They were trying to turn to investigators, they were trying to turn to experts. They were relying on the audience for leads. And they went about it in a very professional way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To say it was addictive is an understatement,” Scottish actor Ewan McGregor wrote in \u003cem>Time’s Most Influential People\u003c/em> entry for Sarah Koenig. “Suddenly, investigative journalism became our hobby, our passion. People were talking about it everywhere you went. It was a true cultural phenomenon.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+the+investigation+of+Adnan+Syed+became+a+podcast+phenomenon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Adnan’s case was a mess. Is a mess. That’s where we were when we stopped reporting in 2014,” says \u003cem>Serial\u003c/em> host Sarah Koenig in her straightforward, personal style in the new episode titled “\u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Adnan is Out\u003c/a>.”\u003c/p>\n\u003cp>In 2014, over the course of 12 episodes, \u003cem>Serial\u003c/em> probed the details of the murder case of Hae Min Lee, Adnan Syed’s former girlfriend. Lee was found strangled to death in Baltimore’s Leakin Park in 1999.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2000, Syed was convicted of murdering Lee when he was 17 years old. He spent 23 years in prison. On Monday, in a Baltimore courtroom, a judge \u003ca href=\"https://www.npr.org/2022/09/19/1123878679/adnan-syed-released-serial\" target=\"_blank\" rel=\"noopener noreferrer\">ruled\u003c/a> to vacate his conviction.\u003c/p>\n\u003cp>Beyond the tremendous impact \u003cem>Serial\u003c/em> has had on Syed’s case and on exposing the flaws in the legal system, the podcast broke new ground in episodic, audio storytelling.\u003c/p>\n\u003cp>Created and produced by Koenig and Julie Snyder, \u003cem>Serial\u003c/em> was a spinoff of \u003ca href=\"https://www.thisamericanlife.org/about/our-other-shows#:~:text=Released%20in%2012%20episodes%2C%20Serial,more%20than%20300%20million%20downloads.\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This American Life\u003c/em>\u003c/a>. With some 300 million downloads, the first season broke podcast records and spawned a cottage industry of true crime podcasts. It won just about every major journalism award including a DuPont and a Peabody, the first ever awarded to a podcast. Koenig was named one of \u003cem>Time\u003c/em>‘s \u003ca href=\"https://time.com/collection-post/3823276/sarah-koenig-2015-time-100/\" target=\"_blank\" rel=\"noopener noreferrer\">Most Influential People\u003c/a> of 2015.\u003c/p>\n\u003cfigure id=\"attachment_13919442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-475459240_custom-a900006c0c1464b294dc3b53d78b3e441a600753-800x555.jpg\" alt=\"A woman wearing black dress, white pearls and black spectacles smiles as she holds up a trophy.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Sarah Koenig with her award at The 74th Annual Peabody Awards Ceremony at Cipriani Wall Street in New York City on May 31, 2015. \u003ccite>(Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barry Scheck, co-director of The Innocence Project, learned about \u003cem>Serial\u003c/em> from his kids. At the time, podcasting experienced something of a generational divide. He believes dogged reporting, a reliance on experts and propulsive storytelling were key to its success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the way Koenig connected the audience with \u003cem>Serial\u003c/em>‘s reporting made for compelling listening. “One of the intriguing parts of the \u003cem>Serial\u003c/em> podcast is that everybody heard her thought processes out loud,” says Scheck, “and that’s part of the appeal of it. You know, we’re all in this together trying to think, ‘Is he innocent? Is he guilty?'”\u003c/p>\n\u003cp>There’s the story and then there’s the discussion it provoked. In the case of \u003cem>Serial\u003c/em>, they worked in tandem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Serial\u003c/em> phenomenon was not just about trying to solve the crime itself. It was also about the vast community devouring each episode and then picking it apart online. Journalists at \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2014/12/serial-episode-10-cristinas-world/383432/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> blogged about it. \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener noreferrer\">A place to discuss Serial: The Podcast\u003c/a> on Reddit reached more than 72,000 members.\u003c/p>\n\u003cp>As Christopher Dunn, Legal Director of the New York Civil Liberties Union, \u003ca href=\"https://www.nyclu.org/en/publications/column-serial-podcast-and-disparate-impact-civil-rights-and-real-world-new-york-law\" target=\"_blank\" rel=\"noopener noreferrer\">marveled\u003c/a> in 2015, \u003cem>Serial\u003c/em> “unleashed a spirited and wide-ranging civil rights debate on the internet,” he wrote. “Most significantly, the discussion forum Reddit, which is enormously popular with young people, exploded with commentary from tens of thousands of people who debated and investigated every aspect of the case, many of which the podcast had not addressed.”\u003c/p>\n\u003cp>The idea to delve into Syed’s case originated with Rabia Chaudry, a lawyer and one of Syed’s friends and supporters. She pitched the idea to Koenig. As \u003cem>Serial \u003c/em>unfolded, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry blogged\u003c/a> about each episode, sharing her knowledge of the case and airing complaints about the way she felt producers were handling aspects of the story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.patheos.com/blogs/splitthemoon/2014/10/lets-give-them-something-to-talk-about/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry was also struck\u003c/a> by how her views were becoming part of the narrative. “I realized that while I and others close to Adnan were mired in the minutiae of both the case and show, we were part of that case and show for the public. \u003ca href=\"http://www.slate.com/blogs/browbeat/2014/10/27/rabia_chaudry_blogs_about_adnan_syed_and_recaps_the_serial_podcast_on_split.html\" target=\"_blank\" rel=\"noopener noreferrer\">Our interactions online were being discussed\u003c/a>, we were being judged and assessed, we were adding both entertainment and substantive value to the discourse. We were also characters in the larger story,” she wrote.\u003c/p>\n\u003cp>Chaudry went on to write her book and produce a podcast about Syed. She’s also an Executive Producer on \u003ca href=\"https://www.hbo.com/the-case-against-adnan-syed\">\u003cem>The Case Against Adnan Syed\u003c/em>\u003c/a>, a four-part HBO documentary series.\u003c/p>\n\u003cp>While Scheck is pleased to see all of the other true crime podcasts \u003cem>Serial\u003c/em> inspired, he urges caution to anyone who thinks it’s easy to do it well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As Mariah Carey was recording her smash hit 1995 pop album \u003cem>Daydream\u003c/em>, she and her fellow musicians were also secretly putting together a grunge album.\u003c/p>\n\u003cp>Carey first mentioned the existence of the secret album in her \u003ca href=\"https://twitter.com/MariahCarey/status/1310242761908588544?s=20&t=QRTCtnCG9IXa-WMfOiDBKA\" target=\"_blank\" rel=\"noopener noreferrer\">2020 memoir\u003c/a>, \u003cem>The Meaning of Mariah Carey\u003c/em>. A version of the record was quietly released at the time under the band name Chick, titled \u003cem>Someone’s Ugly Daughter\u003c/em>, with Carey singing backup vocals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K1pCtaeo3_0\u003c/p>\n\u003cp>In a new interview with the podcast \u003ca href=\"https://cms.megaphone.fm/channel/rollingstonemusicnow?selected=WWO2945552924\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone Music Now\u003c/em>\u003c/a>, Carey has shared that recordings of the alt-rock album with \u003cem>her\u003c/em> lead vocals have been found. And she hinted that the elusive project will finally be released.\u003c/p>\n\u003cp>“I think this unearthed version will become, yes, something we should hear,” she told \u003cem>Rolling Stone\u003c/em>. She suggested, without providing details, that she was even building on the record with an unnamed musician: “I’m working on a version of something where there’ll be another artist working on this with me as well.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carey described the project—recorded after long days in the studio while working on hits such as “Always Be My Baby”—as an outlet for herself during a period when she felt particularly constrained.\u003c/p>\n\u003cp>“I had no freedom during that time. That was my freedom, making that record,” she told the podcast.\u003c/p>\n\u003cp>Carey told \u003cem>Rolling Stone\u003c/em> she was inspired by bands such as Hole and Green Day at the time. She adopted an alter-ego, as she recalled in her book: “I was playing with the style of the breezy-grunge, punk-light white female singers who were popular at the time. You know the ones who seemed to be so carefree with their feelings and their image.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zJIGKt3YokQ\u003c/p>\n\u003cp>At the time, she recalls that there was some unease about her grunge lyrics. “I honestly wanted to put the record out back then under, you know, the same pseudonym, just put it out and be like, you know whatever, let them discover that it’s me,” she told \u003cem>Rolling Stone\u003c/em>. “But that idea was kind of stomped and squashed.”\u003c/p>\n\u003cp>[aside postid='pop_17288']Carey said she even did the album art—a cockroach and some scrawled lipstick. She remembers driving around, shouting lyrics to songs she wrote that nobody knew.\u003c/p>\n\u003cp>Ultimately, she said that a friend of hers named Clarissa Dane recorded lead vocals and wrote a grunge song with Carey, and it was released with Carey on backup vocals. That version is no longer widely available.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it seems like the version that Carey wants us to hear may be coming soon.\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=Mariah+Carey+says+we+should+finally+hear+her+secret+1995+grunge+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Mariah Carey was recording her smash hit 1995 pop album \u003cem>Daydream\u003c/em>, she and her fellow musicians were also secretly putting together a grunge album.\u003c/p>\n\u003cp>Carey first mentioned the existence of the secret album in her \u003ca href=\"https://twitter.com/MariahCarey/status/1310242761908588544?s=20&t=QRTCtnCG9IXa-WMfOiDBKA\" target=\"_blank\" rel=\"noopener noreferrer\">2020 memoir\u003c/a>, \u003cem>The Meaning of Mariah Carey\u003c/em>. A version of the record was quietly released at the time under the band name Chick, titled \u003cem>Someone’s Ugly Daughter\u003c/em>, with Carey singing backup vocals.\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/K1pCtaeo3_0'\n title='//www.youtube.com/embed/K1pCtaeo3_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a new interview with the podcast \u003ca href=\"https://cms.megaphone.fm/channel/rollingstonemusicnow?selected=WWO2945552924\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone Music Now\u003c/em>\u003c/a>, Carey has shared that recordings of the alt-rock album with \u003cem>her\u003c/em> lead vocals have been found. And she hinted that the elusive project will finally be released.\u003c/p>\n\u003cp>“I think this unearthed version will become, yes, something we should hear,” she told \u003cem>Rolling Stone\u003c/em>. She suggested, without providing details, that she was even building on the record with an unnamed musician: “I’m working on a version of something where there’ll be another artist working on this with me as well.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carey described the project—recorded after long days in the studio while working on hits such as “Always Be My Baby”—as an outlet for herself during a period when she felt particularly constrained.\u003c/p>\n\u003cp>“I had no freedom during that time. That was my freedom, making that record,” she told the podcast.\u003c/p>\n\u003cp>Carey told \u003cem>Rolling Stone\u003c/em> she was inspired by bands such as Hole and Green Day at the time. She adopted an alter-ego, as she recalled in her book: “I was playing with the style of the breezy-grunge, punk-light white female singers who were popular at the time. You know the ones who seemed to be so carefree with their feelings and their image.”\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/zJIGKt3YokQ'\n title='//www.youtube.com/embed/zJIGKt3YokQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the time, she recalls that there was some unease about her grunge lyrics. “I honestly wanted to put the record out back then under, you know, the same pseudonym, just put it out and be like, you know whatever, let them discover that it’s me,” she told \u003cem>Rolling Stone\u003c/em>. “But that idea was kind of stomped and squashed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Latino Legends Helped Pave the Way in Hollywood, But the Road is Still Rocky",
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"content": "\u003cp>Latinos have been a part of Hollywood since the silent movie era. But they continue to be underrepresented in front of and behind the cameras. \u003ca href=\"https://assets.uscannenberg.org/docs/aii-hispanic-latino-rep-2021-09-13.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">USC’s Annenberg Inclusion Initiative\u003c/a> and \u003ca href=\"https://socialsciences.ucla.edu/hollywood-diversity-report-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">UCLA’s latest Hollywood Diversity Report\u003c/a> show that Latino actors get just 7% of film leads.\u003c/p>\n\u003cp>In the early days of cinema and to this day, Anglo actors played so-called Spanish roles, sometimes in brownface. USC professor Laura Isabel Serna says Latinos were often used as background extras, wrangling horses for Western pictures. Luis Reyes, author of a new book called \u003ca href=\"https://www.dropbox.com/sh/d01xp0e9tng4t2j/AAD8n-o0CTMfp-BpXiufMbaVa?dl=0&preview=Press+Release++-+VIVA+HOLLYWOOD.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Viva Hollywood\u003c/em>\u003c/a>, says Latino actors who did get speaking parts were typecast in cliched roles.\u003c/p>\n\u003cp>“You know, the stereotypes: Oh, you’re Latino? You’ll play the \u003ca href=\"https://www.merriam-webster.com/dictionary/bandido\" target=\"_blank\" rel=\"noopener noreferrer\">bandido\u003c/a>,” Reyes says. “There was a guy that played a bandido so often he had his own costume. It was about earning a living. ‘I got black hair, I look dark. You wanted me to be a cantina girl? No problem.'”\u003c/p>\n\u003cfigure id=\"attachment_13919255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-800x677.jpg\" alt=\"A suave man with slicked back hair and a pencil mustache stands with his hands on his waist, wearing a sharp suit and tie.\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-1020x864.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d.jpg 1519w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon Novarro, circa 1930s. \u003ccite>(George Hurrell/ullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hollywood stars Ramon Novarro and his second cousin Dolores del Rio got their starts in silent pictures and were promoted as “Latin lovers.” Both came from influential aristocratic families in Mexico. Navarro’s family had moved to Los Angeles to escape the Mexican Revolution in 1913. He went from being an extra to starring in the 1925 silent film \u003ca href=\"https://www.youtube.com/watch?v=63t9ue_0pUU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ben-Hur: A Tale of the Christ\u003c/em>\u003c/a>\u003cem>.\u003c/em> Among his hits is the 1931 film \u003ca href=\"https://www.youtube.com/watch?v=G5DVB3iIxAw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mata Hari\u003c/em>\u003c/a> with Greta Garbo.\u003c/p>\n\u003cp>Dolores del Rio was also recruited to Hollywood to be a sex symbol. Her famous friends Charlie Chaplin, Greta Garbo and Marlene Dietrich reportedly regarded her as the most beautiful woman in Hollywood. Del Rio starred in silent films such as \u003cem>High Steppers\u003c/em>, \u003cem>Pals First\u003c/em> and \u003ca href=\"https://www.youtube.com/watch?v=T4nhSpOiKZk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ramona\u003c/em>\u003c/a>. When talking pictures took over, she was also a success, after proving she could sing.\u003c/p>\n\u003cfigure id=\"attachment_13919256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-800x891.jpg\" alt=\"A striking woman with short dark hair stands powerfully with her hands on the surface of a dining table.\" width=\"800\" height=\"891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-1020x1136.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-1379x1536.jpg 1379w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11.jpg 1825w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolores del Rio in her dining room, circa 1935. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was seen as an exotic woman,” says Cynthia Prida Bravo, consul for cultural affairs for the Consulate General of Mexico. “She played the European, very sophisticated woman and she played the Indigenous woman. She was so sure of herself. That’s why we’re still celebrating her almost after a hundred years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serna further explains del Rio’s appeal in Hollywood. “She’s exotic looking, but she’s not particularly dark. I think that works for the studios, as it continues to work for the studios today. So she’s portrayed as being very ‘acceptable.’ And she was very insistent that she didn’t want to play roles that she considered stereotypical.”\u003c/p>\n\u003cfigure id=\"attachment_13919257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-562640519_sq-e6c295b48c35ffa324ca77c5964b51ae0fd2df48-800x800.jpg\" alt=\"A beautiful woman strikes a strong, confident pose while wearing a wearing a revealing feather outfit\" width=\"800\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Lupe Vélez, circa 1931. \u003ccite>(Keystone/Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were other tropes used then, and even now. For comedic effect, there was the “hot-tempered, fast-talking, spicy wildcat” Latina. Actress Lupe Vélez, known as Lupe “Tabasco” Vélez, starred in at least eight \u003ca href=\"https://www.youtube.com/watch?v=RJrplHd1m-o\" target=\"_blank\" rel=\"noopener noreferrer\">Mexican Spitfire\u003c/a> movies in the 1930s and ’40s.\u003c/p>\n\u003cp>Then there were the sultry femme fatales not billed as Hispanic. Rita Hayworth, born Margarita Carmen Cansino, whose dad was from Spain, and Raquel Welch, born Jo Raquel Tejada, whose father was Bolivian.\u003c/p>\n\u003cp>“Everybody changed their names in those days,” says Reyes. He adds that the studios may have anglicized names to appeal to white audiences, but that didn’t mean the actors were ashamed of their heritage. And some, like del Rio, returned to their roots. In the 1940s, she helped launch Mexico’s Golden Age of Cinema. Among her most famous films were \u003ca href=\"https://www.youtube.com/watch?v=P0i-yu87FkA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>María Candelaria\u003c/em>\u003c/a>, the first Mexican film screened at the Cannes International Film Festival, and \u003ca href=\"https://www.youtube.com/watch?v=i2LKFdDu-MU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Las Abandonadas\u003c/em>\u003c/a>, for which she won an Ariel, Mexico’s equivalent of an Oscar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i2LKFdDu-MU\u003c/p>\n\u003cp>But in Hollywood, it took years for the Academy Awards to give its\u003ca href=\"https://www.youtube.com/watch?v=4eIozJu2yBA\" target=\"_blank\" rel=\"noopener noreferrer\"> first Oscar to a Latino actor\u003c/a>. Puerto Rican José Ferrer got it for playing an adventurer, swordsman and poet in the 1950 film \u003ca href=\"https://www.youtube.com/watch?v=bzmP2NyvQR0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cyrano de Bergerac\u003c/em>\u003c/a>\u003cem>.\u003c/em> Two years later, Mexican American actor Anthony Quinn won his first Oscar for \u003ca href=\"https://www.youtube.com/watch?v=Ek2K5cLQ8E8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Viva Zapata!\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13864820']Actor Edward James Olmos credits Oscar winners Ferrer and Quinn for paving the way for later generations to play serious, non-Latino roles.\u003c/p>\n\u003cp>Still, like those before him, Olmos says he was often cast in cliched roles, but he says that didn’t mean he played them “stereotypically.”\u003c/p>\n\u003cp>He says the head of casting at MGM asked him to change his name. So he did, from Eddie Olmos to Edward James Olmos.\u003c/p>\n\u003cp>“I am a Latino actor and I’m proud of it,” says Olmos. “I said no to more things than I said yes. My intention was to tell stories about me and my culture.”\u003c/p>\n\u003cfigure id=\"attachment_13919258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/olmos_custom-b2f5faade73e9d0eb9f8194baa1ed5d8cb3a76c5-800x541.jpg\" alt=\"An older man with a grey mustache and spectacles stands in a grand ballroom, wearing a hoodie and a fedora.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">Edward James Olmos at the Hollywood Roosevelt Hotel earlier this year. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor born in East LA starred in some of the most iconic Chicano films, including \u003ca href=\"https://www.imdb.com/video/vi3575825177/?ref_=tt_vi_i_1\">\u003cem>Zoot Suit\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xdd_20JwndQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ballad of Gregorio Cortez\u003c/em>\u003c/a>\u003cem>,\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=vEj9ZwIzk44\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stand and Deliver\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=HIBYaeYQF0k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selena\u003c/em>\u003c/a>. In 1997, he helped found the \u003ca href=\"https://laliff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Latino International Film Festival\u003c/a> to showcase the work of Latino and Latinx creators. He also helped start a youth cinema project for children from fourth grade through college.\u003c/p>\n\u003cp>Before that, in 1962, Rita Moreno was the first Latina actress to win an Oscar for her role as Anita in the 1961 film \u003ca href=\"https://www.youtube.com/watch?v=YhSKk-cvblc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>West Side Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZaOy0eb0Tbs&t=1s\u003c/p>\n\u003cp>Moreno was born in Puerto Rico and raised in New York and in Hollywood played a lot of what she called “Conchita Lolita” Latina roles or the generic ethnic.\u003c/p>\n\u003cp>“I never ever was able to do a part without assuming some kind of an accent,” \u003ca href=\"https://www.npr.org/2011/10/24/141594495/moreno-leguizamo-talk-latin-life-in-hollywouldnt\" target=\"_blank\" rel=\"noopener noreferrer\">she told NPR in 2011\u003c/a>, adding that even for the Nuyorican musical \u003cem>West Side Story \u003c/em>there were challenges. “We all had to wear one color makeup, very very dark. And I remember asking the makeup man in real annoyance, why can’t the makeup match our different skin tones because Hispanics are many different—some of us are very fair.”\u003c/p>\n\u003cp>[aside postid='arts_13898388']Moreno says it took years to get another good role after her Oscar. But she persevered, acting on television and onstage. And now, at age 90, Rita Moreno continues to act in Hollywood. She was in last year’s \u003cem>West Side Story\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=hoQEddtFN3Q\" target=\"_blank\" rel=\"noopener noreferrer\">remake\u003c/a>, where newcomer Ariana DeBose played Anita.\u003c/p>\n\u003cp>DeBose made history at this year’s \u003ca href=\"https://www.npr.org/2022/03/27/1088846361/ariana-debose-oscar-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">Academy Awards\u003c/a>, where she accepted her Oscar.\u003c/p>\n\u003cp>“You see a queer, openly queer woman of color, an Afro Latina who found her strength in life through art, and that’s what I believe we’re here to celebrate,” DeBose said onstage.\u003c/p>\n\u003cfigure id=\"attachment_13919259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919259\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-800x1187.jpg\" alt=\"Two women, wearing elaborate evening gowns stand face to face and gaze warmly at each other on the red carpet.\" width=\"800\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1920x2848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-scaled.jpg 1726w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Moreno and Ariana DeBose attend the 94th Annual Academy Awards in Hollywood. \u003ccite>(David Livingston/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor John Leguizamo was also onstage at this year’s Oscars celebration, which included an \u003ca href=\"https://www.youtube.com/watch?v=EQ62TFSQUGI\" target=\"_blank\" rel=\"noopener noreferrer\">all-Latino performance\u003c/a> from Lin-Manuel Miranda’s animated musical film \u003ca href=\"https://www.npr.org/2022/03/20/1087778299/best-of-the-groundbreaking-latinos-behind-disneys-encanto\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Encanto\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13912474']“All these beautiful Latinx faces, \u003ca href=\"https://twitter.com/ABC/status/1508260264965283848\" target=\"_blank\" rel=\"noopener noreferrer\">we got great representation tonight\u003c/a>, people,” he said, before reminding the audience of \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/02/28/284081430/latin-pride-swells-for-mystery-model-behind-oscar-statuette\" target=\"_blank\" rel=\"noopener noreferrer\">the legend\u003c/a> that the Oscar statuette was modeled on Emilio “El Indio” Fernández in 1928.\u003c/p>\n\u003cp>For years, Leguizamo has railed about Hollywood’s limited opportunities for Latino actors and stories. \u003ca href=\"https://www.instagram.com/reel/Cg6l9OvFV3b/\" target=\"_blank\" rel=\"noopener noreferrer\">He recently shared his outrage\u003c/a> on social media when film producers cast white actor James Franco to play Cuban leader Fidel Castro.\u003c/p>\n\u003cp>“I grew up in an era where Latin people couldn’t play Latin people on film, where Charlton Heston played a Mexican, where Pacino played Cuban and Puerto Rican,” Leguizamo said on Instagram. “They told you to change your name. Stay out of the sun, that only white Latinos or white-passing Latinos will get jobs. I’ve been told so many times you can’t have two Latin people in the movie, otherwise, people think it’s a Latin movie, you know how, whatever. So no, no appropriating our stories? No, no more of that. I’m done with that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story is part of NPR’s ‘Latinos in Hollywood’ series, which pays tribute to some of the legends and pioneers in the film industry and examines how some Latinx actors, film composers and directors are getting or creating more opportunities. \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>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Latino+legends+helped+pave+the+way+in+Hollywood%2C+but+the+road+is+still+rocky&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Latinos have been a part of Hollywood since the silent movie era. But they continue to be underrepresented in front of and behind the cameras. \u003ca href=\"https://assets.uscannenberg.org/docs/aii-hispanic-latino-rep-2021-09-13.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">USC’s Annenberg Inclusion Initiative\u003c/a> and \u003ca href=\"https://socialsciences.ucla.edu/hollywood-diversity-report-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">UCLA’s latest Hollywood Diversity Report\u003c/a> show that Latino actors get just 7% of film leads.\u003c/p>\n\u003cp>In the early days of cinema and to this day, Anglo actors played so-called Spanish roles, sometimes in brownface. USC professor Laura Isabel Serna says Latinos were often used as background extras, wrangling horses for Western pictures. Luis Reyes, author of a new book called \u003ca href=\"https://www.dropbox.com/sh/d01xp0e9tng4t2j/AAD8n-o0CTMfp-BpXiufMbaVa?dl=0&preview=Press+Release++-+VIVA+HOLLYWOOD.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Viva Hollywood\u003c/em>\u003c/a>, says Latino actors who did get speaking parts were typecast in cliched roles.\u003c/p>\n\u003cp>“You know, the stereotypes: Oh, you’re Latino? You’ll play the \u003ca href=\"https://www.merriam-webster.com/dictionary/bandido\" target=\"_blank\" rel=\"noopener noreferrer\">bandido\u003c/a>,” Reyes says. “There was a guy that played a bandido so often he had his own costume. It was about earning a living. ‘I got black hair, I look dark. You wanted me to be a cantina girl? No problem.'”\u003c/p>\n\u003cfigure id=\"attachment_13919255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-800x677.jpg\" alt=\"A suave man with slicked back hair and a pencil mustache stands with his hands on his waist, wearing a sharp suit and tie.\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-1020x864.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-548811509-2048x2048_custom-9239238b13d6b1893c1787d53049e4f8ef9bad4d.jpg 1519w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon Novarro, circa 1930s. \u003ccite>(George Hurrell/ullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hollywood stars Ramon Novarro and his second cousin Dolores del Rio got their starts in silent pictures and were promoted as “Latin lovers.” Both came from influential aristocratic families in Mexico. Navarro’s family had moved to Los Angeles to escape the Mexican Revolution in 1913. He went from being an extra to starring in the 1925 silent film \u003ca href=\"https://www.youtube.com/watch?v=63t9ue_0pUU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ben-Hur: A Tale of the Christ\u003c/em>\u003c/a>\u003cem>.\u003c/em> Among his hits is the 1931 film \u003ca href=\"https://www.youtube.com/watch?v=G5DVB3iIxAw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mata Hari\u003c/em>\u003c/a> with Greta Garbo.\u003c/p>\n\u003cp>Dolores del Rio was also recruited to Hollywood to be a sex symbol. Her famous friends Charlie Chaplin, Greta Garbo and Marlene Dietrich reportedly regarded her as the most beautiful woman in Hollywood. Del Rio starred in silent films such as \u003cem>High Steppers\u003c/em>, \u003cem>Pals First\u003c/em> and \u003ca href=\"https://www.youtube.com/watch?v=T4nhSpOiKZk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ramona\u003c/em>\u003c/a>. When talking pictures took over, she was also a success, after proving she could sing.\u003c/p>\n\u003cfigure id=\"attachment_13919256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-800x891.jpg\" alt=\"A striking woman with short dark hair stands powerfully with her hands on the surface of a dining table.\" width=\"800\" height=\"891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-1020x1136.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11-1379x1536.jpg 1379w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-3306413_custom-3afe6959f66e9783ffb7cdcea02baefbffe33d11.jpg 1825w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolores del Rio in her dining room, circa 1935. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was seen as an exotic woman,” says Cynthia Prida Bravo, consul for cultural affairs for the Consulate General of Mexico. “She played the European, very sophisticated woman and she played the Indigenous woman. She was so sure of herself. That’s why we’re still celebrating her almost after a hundred years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serna further explains del Rio’s appeal in Hollywood. “She’s exotic looking, but she’s not particularly dark. I think that works for the studios, as it continues to work for the studios today. So she’s portrayed as being very ‘acceptable.’ And she was very insistent that she didn’t want to play roles that she considered stereotypical.”\u003c/p>\n\u003cfigure id=\"attachment_13919257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-562640519_sq-e6c295b48c35ffa324ca77c5964b51ae0fd2df48-800x800.jpg\" alt=\"A beautiful woman strikes a strong, confident pose while wearing a wearing a revealing feather outfit\" width=\"800\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Lupe Vélez, circa 1931. \u003ccite>(Keystone/Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were other tropes used then, and even now. For comedic effect, there was the “hot-tempered, fast-talking, spicy wildcat” Latina. Actress Lupe Vélez, known as Lupe “Tabasco” Vélez, starred in at least eight \u003ca href=\"https://www.youtube.com/watch?v=RJrplHd1m-o\" target=\"_blank\" rel=\"noopener noreferrer\">Mexican Spitfire\u003c/a> movies in the 1930s and ’40s.\u003c/p>\n\u003cp>Then there were the sultry femme fatales not billed as Hispanic. Rita Hayworth, born Margarita Carmen Cansino, whose dad was from Spain, and Raquel Welch, born Jo Raquel Tejada, whose father was Bolivian.\u003c/p>\n\u003cp>“Everybody changed their names in those days,” says Reyes. He adds that the studios may have anglicized names to appeal to white audiences, but that didn’t mean the actors were ashamed of their heritage. And some, like del Rio, returned to their roots. In the 1940s, she helped launch Mexico’s Golden Age of Cinema. Among her most famous films were \u003ca href=\"https://www.youtube.com/watch?v=P0i-yu87FkA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>María Candelaria\u003c/em>\u003c/a>, the first Mexican film screened at the Cannes International Film Festival, and \u003ca href=\"https://www.youtube.com/watch?v=i2LKFdDu-MU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Las Abandonadas\u003c/em>\u003c/a>, for which she won an Ariel, Mexico’s equivalent of an Oscar.\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/i2LKFdDu-MU'\n title='//www.youtube.com/embed/i2LKFdDu-MU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in Hollywood, it took years for the Academy Awards to give its\u003ca href=\"https://www.youtube.com/watch?v=4eIozJu2yBA\" target=\"_blank\" rel=\"noopener noreferrer\"> first Oscar to a Latino actor\u003c/a>. Puerto Rican José Ferrer got it for playing an adventurer, swordsman and poet in the 1950 film \u003ca href=\"https://www.youtube.com/watch?v=bzmP2NyvQR0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cyrano de Bergerac\u003c/em>\u003c/a>\u003cem>.\u003c/em> Two years later, Mexican American actor Anthony Quinn won his first Oscar for \u003ca href=\"https://www.youtube.com/watch?v=Ek2K5cLQ8E8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Viva Zapata!\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Actor Edward James Olmos credits Oscar winners Ferrer and Quinn for paving the way for later generations to play serious, non-Latino roles.\u003c/p>\n\u003cp>Still, like those before him, Olmos says he was often cast in cliched roles, but he says that didn’t mean he played them “stereotypically.”\u003c/p>\n\u003cp>He says the head of casting at MGM asked him to change his name. So he did, from Eddie Olmos to Edward James Olmos.\u003c/p>\n\u003cp>“I am a Latino actor and I’m proud of it,” says Olmos. “I said no to more things than I said yes. My intention was to tell stories about me and my culture.”\u003c/p>\n\u003cfigure id=\"attachment_13919258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/olmos_custom-b2f5faade73e9d0eb9f8194baa1ed5d8cb3a76c5-800x541.jpg\" alt=\"An older man with a grey mustache and spectacles stands in a grand ballroom, wearing a hoodie and a fedora.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">Edward James Olmos at the Hollywood Roosevelt Hotel earlier this year. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor born in East LA starred in some of the most iconic Chicano films, including \u003ca href=\"https://www.imdb.com/video/vi3575825177/?ref_=tt_vi_i_1\">\u003cem>Zoot Suit\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xdd_20JwndQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ballad of Gregorio Cortez\u003c/em>\u003c/a>\u003cem>,\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=vEj9ZwIzk44\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stand and Deliver\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=HIBYaeYQF0k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selena\u003c/em>\u003c/a>. In 1997, he helped found the \u003ca href=\"https://laliff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Latino International Film Festival\u003c/a> to showcase the work of Latino and Latinx creators. He also helped start a youth cinema project for children from fourth grade through college.\u003c/p>\n\u003cp>Before that, in 1962, Rita Moreno was the first Latina actress to win an Oscar for her role as Anita in the 1961 film \u003ca href=\"https://www.youtube.com/watch?v=YhSKk-cvblc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>West Side Story\u003c/em>\u003c/a>.\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/ZaOy0eb0Tbs'\n title='//www.youtube.com/embed/ZaOy0eb0Tbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moreno was born in Puerto Rico and raised in New York and in Hollywood played a lot of what she called “Conchita Lolita” Latina roles or the generic ethnic.\u003c/p>\n\u003cp>“I never ever was able to do a part without assuming some kind of an accent,” \u003ca href=\"https://www.npr.org/2011/10/24/141594495/moreno-leguizamo-talk-latin-life-in-hollywouldnt\" target=\"_blank\" rel=\"noopener noreferrer\">she told NPR in 2011\u003c/a>, adding that even for the Nuyorican musical \u003cem>West Side Story \u003c/em>there were challenges. “We all had to wear one color makeup, very very dark. And I remember asking the makeup man in real annoyance, why can’t the makeup match our different skin tones because Hispanics are many different—some of us are very fair.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moreno says it took years to get another good role after her Oscar. But she persevered, acting on television and onstage. And now, at age 90, Rita Moreno continues to act in Hollywood. She was in last year’s \u003cem>West Side Story\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=hoQEddtFN3Q\" target=\"_blank\" rel=\"noopener noreferrer\">remake\u003c/a>, where newcomer Ariana DeBose played Anita.\u003c/p>\n\u003cp>DeBose made history at this year’s \u003ca href=\"https://www.npr.org/2022/03/27/1088846361/ariana-debose-oscar-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">Academy Awards\u003c/a>, where she accepted her Oscar.\u003c/p>\n\u003cp>“You see a queer, openly queer woman of color, an Afro Latina who found her strength in life through art, and that’s what I believe we’re here to celebrate,” DeBose said onstage.\u003c/p>\n\u003cfigure id=\"attachment_13919259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919259\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-800x1187.jpg\" alt=\"Two women, wearing elaborate evening gowns stand face to face and gaze warmly at each other on the red carpet.\" width=\"800\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-1920x2848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/gettyimages-1388090590-1-_custom-65655ea81034f5b84de6ac55a1d91c027491f2a6-scaled.jpg 1726w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Moreno and Ariana DeBose attend the 94th Annual Academy Awards in Hollywood. \u003ccite>(David Livingston/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor John Leguizamo was also onstage at this year’s Oscars celebration, which included an \u003ca href=\"https://www.youtube.com/watch?v=EQ62TFSQUGI\" target=\"_blank\" rel=\"noopener noreferrer\">all-Latino performance\u003c/a> from Lin-Manuel Miranda’s animated musical film \u003ca href=\"https://www.npr.org/2022/03/20/1087778299/best-of-the-groundbreaking-latinos-behind-disneys-encanto\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Encanto\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All these beautiful Latinx faces, \u003ca href=\"https://twitter.com/ABC/status/1508260264965283848\" target=\"_blank\" rel=\"noopener noreferrer\">we got great representation tonight\u003c/a>, people,” he said, before reminding the audience of \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/02/28/284081430/latin-pride-swells-for-mystery-model-behind-oscar-statuette\" target=\"_blank\" rel=\"noopener noreferrer\">the legend\u003c/a> that the Oscar statuette was modeled on Emilio “El Indio” Fernández in 1928.\u003c/p>\n\u003cp>For years, Leguizamo has railed about Hollywood’s limited opportunities for Latino actors and stories. \u003ca href=\"https://www.instagram.com/reel/Cg6l9OvFV3b/\" target=\"_blank\" rel=\"noopener noreferrer\">He recently shared his outrage\u003c/a> on social media when film producers cast white actor James Franco to play Cuban leader Fidel Castro.\u003c/p>\n\u003cp>“I grew up in an era where Latin people couldn’t play Latin people on film, where Charlton Heston played a Mexican, where Pacino played Cuban and Puerto Rican,” Leguizamo said on Instagram. “They told you to change your name. Stay out of the sun, that only white Latinos or white-passing Latinos will get jobs. I’ve been told so many times you can’t have two Latin people in the movie, otherwise, people think it’s a Latin movie, you know how, whatever. So no, no appropriating our stories? No, no more of that. I’m done with that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is part of NPR’s ‘Latinos in Hollywood’ series, which pays tribute to some of the legends and pioneers in the film industry and examines how some Latinx actors, film composers and directors are getting or creating more opportunities. \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>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Latino+legends+helped+pave+the+way+in+Hollywood%2C+but+the+road+is+still+rocky&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Musicians Are Back On the Road, But Every Day Is a Gamble",
"headTitle": "Musicians Are Back On the Road, But Every Day Is a Gamble | KQED",
"content": "\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” [aside postid='arts_13918908']\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. [aside postid='arts_13918796']\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” [aside postid='arts_13919062']\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In his newest documentary series, \u003cem>The U.S. and the Holocaust,\u003c/em> Ken Burns and his collaborators are revisiting some very familiar ground. Geoffrey C. Ward, who wrote the script for this new series, also wrote the Burns epic documentaries \u003ca href=\"https://www.npr.org/2007/09/18/14496870/ken-burns-releases-the-war\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The War\u003c/em>\u003c/a>, about World War II, and \u003ca href=\"https://www.npr.org/2014/09/10/347276638/three-roosevelts-come-alive-in-pbs-documentary-ken-burns-best-yet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Roosevelts: An Intimate History\u003c/em>\u003c/a>, in which Franklin and Eleanor Roosevelt figured prominently, as they do here. And Ward wrote \u003cem>The Civil War, \u003c/em>which put Ken Burns on the map in the first place.\u003c/p>\n\u003cp>[aside postid='arts_13917075']More than 30 years later, the structure and methods of a Ken Burns production are so familiar as to be almost comforting, and\u003cem> The U.S. and the Holocaust \u003c/em>employs them all. There are celebrity voices reading the words of historical figures—this time, the voices include Meryl Streep, Paul Giamatti, Liam Neeson and Werner Herzog. Photographs are used patiently and poetically, revealing new elements as they pan and zoom in and out. Music and sound effects make every moment both more real and more emotional. And a Ken Burns documentary series always starts with a clear-cut summary of things to come—provided, this time, by frequent Burns narrator Peter Coyote.\u003c/p>\n\u003cp>\u003cem>The U.S. and the Holocaust,\u003c/em> like many Ken Burns history projects, examines his subject from the bottom up. Instead of interviewing military experts, he talks to survivors or their relatives. When historians and other experts are heard from, they discuss events from that same perspective. In this case, they try to understand, and explain, what it was like to endure Nazi atrocities—or even to believe that they were happening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VCffe1USg18\u003c/p>\n\u003cp>The documentary spends a great deal of time delving into the intricacies of national politics—not only in Germany, where Adolf Hitler rose from prison to dictatorial power, but in America, where waves of isolationism kept the U.S. out of the war for years. It shows that most everyday Americans were not unaware of what the Nazis were doing in Europe. Throughout the documentary, we see newspaper headlines proving that the facts indeed were out there. Yet they were questioned by many, until after the war, when concentration camps were liberated and their atrocities documented.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13914530']The opening installment, which premiers on Sept. 18, stops in the year 1938, and part two goes up to 1942. The concluding two hours cover the end of World War II, and its aftermath—the formation of Israel, the Nuremberg war trials, even the invention and introduction of the word “genocide.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s not until the final five minutes that the story is brought fully up to date. But those final sounds and images that conclude \u003cem>The U.S. and the Holocaust\u003c/em>—scenes with which we’re all too familiar, of hate crimes and hate-filled marches—connect the past to the present without Coyote, or anyone else, having to say a word. Once again, Burns and company have made history come to life—and reminded us that our life, right now, is indeed history in the making.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ken+Burns+connects+the+past+and+the+present+in+%27The+U.S.+and+the+Holocaust%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Following the teaser \u003ca href=\"https://www.youtube.com/watch?v=0-wPm99PF9U\">trailer for the live-action version\u003c/a> of Disney’s \u003cem>The Little Mermaid\u003c/em>, parents of young Black girls are posting videos across social media of their children’s reactions to seeing Halle Bailey as Ariel.\u003c/p>\n\u003cp>“I wanna watch it!” a girl says in a \u003ca href=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395?_r=1&_t=8VdBrIBXh5W&is_from_webapp=v1&item_id=7141549155868036395\">video \u003c/a>posted by TikTok user Adelia Chaiyakul.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395\" data-video-id=\"7141549155868036395\">\n\u003csection>\u003ca title=\"@adeliachai2\" href=\"https://www.tiktok.com/@adeliachai2?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@adeliachai2\u003c/a> Showing my daughter The Little Mermaid Teaser Trailer \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"littlemermaid\" href=\"https://www.tiktok.com/tag/littlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#littlemermaid\u003c/a> \u003ca title=\"hallebailey\" href=\"https://www.tiktok.com/tag/hallebailey?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#hallebailey\u003c/a> \u003ca title=\"disney\" href=\"https://www.tiktok.com/tag/disney?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#disney\u003c/a> \u003ca title=\"brownskingirl\" href=\"https://www.tiktok.com/tag/brownskingirl?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#brownskingirl\u003c/a> \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> \u003ca title=\"♬ The Little Mermaid: Part of Your World - Geek Music\" href=\"https://www.tiktok.com/music/The-Little-Mermaid-Part-of-Your-World-6891415531383949313?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ The Little Mermaid: Part of Your World – Geek Music\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>“Mommy! … She’s brown like me!” says a girl in another TikTok.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nickyknackpaddywack/video/7142138063504969006\" data-video-id=\"7142138063504969006\">\n\u003csection>\u003ca title=\"@nickyknackpaddywack\" href=\"https://www.tiktok.com/@nickyknackpaddywack?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@nickyknackpaddywack\u003c/a> Mayas reaction to \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> trailer. \u003ca title=\"representationmatters\" href=\"https://www.tiktok.com/tag/representationmatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationmatters\u003c/a> \u003ca title=\"representationinthemediamatters\" href=\"https://www.tiktok.com/tag/representationinthemediamatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationinthemediamatters\u003c/a> \u003ca title=\"blackgirls\" href=\"https://www.tiktok.com/tag/blackgirls?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#blackgirls\u003c/a> \u003ca title=\"♬ original sound - Nicky\" href=\"https://www.tiktok.com/music/original-sound-7142138065312582442?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Nicky\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>Many similar videos have been shared across social media since the teaser trailer was released on Friday, with hashtags such as #representationmatters and #Blackgirlmagic. The trailer has surpassed 12 million views.\u003c/p>\n\u003cp>Disney first unveiled a sneak peek of its live-action adaptation of the 1989 animated film at its \u003ca href=\"https://www.npr.org/2022/09/10/1122224622/disney-disenchanted-little-mermaid-movie-trailers\" target=\"_blank\" rel=\"noopener noreferrer\">D23 Expo\u003c/a>. In the video, fans get a brief look at Bailey, an actress and singer from the R&B duo Chloe x Halle, playing the lead role of Ariel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Bailey, the film features actor Daveed Diggs as the voice of Sebastian, Melissa McCarthy as Ursula, Javier Bardem as Triton, Jacob Tremblay as Flounder, and Awkwafina as Scuttle.\u003c/p>\n\u003cp>[aside postid='arts_13914736']In an \u003ca href=\"https://variety.com/2022/film/features/halle-bailey-the-little-mermaid-interview-backlash-ariel-1235336668/\" target=\"_blank\" rel=\"noopener noreferrer\">interview with \u003cem>Variety\u003c/em>\u003c/a>, Bailey, 22, addressed the backlash towards her casting in the lead role. Some on social media have used the hashtag #NotMyAriel to say that casting a Black actress goes against the original Hans Christian Andersen fairy tale, which was originally published in Denmark in 1837. In the wake of that, Bailey said that her grandparents offered her some perspective.\u003c/p>\n\u003cp>“It was an inspiring and beautiful thing to hear their words of encouragement, telling me, ‘You don’t understand what this is doing for us, for our community, for all the little Black and brown girls who are going to see themselves in you,'” Bailey said.\u003c/p>\n\u003cp>“I want the little girl in me and the little girls just like me who are watching to know that they’re special and that they should be a princess in every single way,” she added.\u003c/p>\n\u003cp>https://twitter.com/HalleBailey/status/1569455744046747648\u003c/p>\n\u003cp>The original animated 1989 film tells the story of a young mermaid, Ariel, who falls in love with a human prince. In order to win him over, she makes a deal with a sea witch named Ursula to become a human.\u003c/p>\n\u003cp>The Little Mermaid is set to be released in theaters on May 26, 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following the teaser \u003ca href=\"https://www.youtube.com/watch?v=0-wPm99PF9U\">trailer for the live-action version\u003c/a> of Disney’s \u003cem>The Little Mermaid\u003c/em>, parents of young Black girls are posting videos across social media of their children’s reactions to seeing Halle Bailey as Ariel.\u003c/p>\n\u003cp>“I wanna watch it!” a girl says in a \u003ca href=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395?_r=1&_t=8VdBrIBXh5W&is_from_webapp=v1&item_id=7141549155868036395\">video \u003c/a>posted by TikTok user Adelia Chaiyakul.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395\" data-video-id=\"7141549155868036395\">\n\u003csection>\u003ca title=\"@adeliachai2\" href=\"https://www.tiktok.com/@adeliachai2?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@adeliachai2\u003c/a> Showing my daughter The Little Mermaid Teaser Trailer \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"littlemermaid\" href=\"https://www.tiktok.com/tag/littlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#littlemermaid\u003c/a> \u003ca title=\"hallebailey\" href=\"https://www.tiktok.com/tag/hallebailey?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#hallebailey\u003c/a> \u003ca title=\"disney\" href=\"https://www.tiktok.com/tag/disney?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#disney\u003c/a> \u003ca title=\"brownskingirl\" href=\"https://www.tiktok.com/tag/brownskingirl?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#brownskingirl\u003c/a> \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> \u003ca title=\"♬ The Little Mermaid: Part of Your World - Geek Music\" href=\"https://www.tiktok.com/music/The-Little-Mermaid-Part-of-Your-World-6891415531383949313?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ The Little Mermaid: Part of Your World – Geek Music\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>“Mommy! … She’s brown like me!” says a girl in another TikTok.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nickyknackpaddywack/video/7142138063504969006\" data-video-id=\"7142138063504969006\">\n\u003csection>\u003ca title=\"@nickyknackpaddywack\" href=\"https://www.tiktok.com/@nickyknackpaddywack?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@nickyknackpaddywack\u003c/a> Mayas reaction to \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> trailer. \u003ca title=\"representationmatters\" href=\"https://www.tiktok.com/tag/representationmatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationmatters\u003c/a> \u003ca title=\"representationinthemediamatters\" href=\"https://www.tiktok.com/tag/representationinthemediamatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationinthemediamatters\u003c/a> \u003ca title=\"blackgirls\" href=\"https://www.tiktok.com/tag/blackgirls?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#blackgirls\u003c/a> \u003ca title=\"♬ original sound - Nicky\" href=\"https://www.tiktok.com/music/original-sound-7142138065312582442?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Nicky\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>Many similar videos have been shared across social media since the teaser trailer was released on Friday, with hashtags such as #representationmatters and #Blackgirlmagic. The trailer has surpassed 12 million views.\u003c/p>\n\u003cp>Disney first unveiled a sneak peek of its live-action adaptation of the 1989 animated film at its \u003ca href=\"https://www.npr.org/2022/09/10/1122224622/disney-disenchanted-little-mermaid-movie-trailers\" target=\"_blank\" rel=\"noopener noreferrer\">D23 Expo\u003c/a>. In the video, fans get a brief look at Bailey, an actress and singer from the R&B duo Chloe x Halle, playing the lead role of Ariel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Bailey, the film features actor Daveed Diggs as the voice of Sebastian, Melissa McCarthy as Ursula, Javier Bardem as Triton, Jacob Tremblay as Flounder, and Awkwafina as Scuttle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://variety.com/2022/film/features/halle-bailey-the-little-mermaid-interview-backlash-ariel-1235336668/\" target=\"_blank\" rel=\"noopener noreferrer\">interview with \u003cem>Variety\u003c/em>\u003c/a>, Bailey, 22, addressed the backlash towards her casting in the lead role. Some on social media have used the hashtag #NotMyAriel to say that casting a Black actress goes against the original Hans Christian Andersen fairy tale, which was originally published in Denmark in 1837. In the wake of that, Bailey said that her grandparents offered her some perspective.\u003c/p>\n\u003cp>“It was an inspiring and beautiful thing to hear their words of encouragement, telling me, ‘You don’t understand what this is doing for us, for our community, for all the little Black and brown girls who are going to see themselves in you,'” Bailey said.\u003c/p>\n\u003cp>“I want the little girl in me and the little girls just like me who are watching to know that they’re special and that they should be a princess in every single way,” she added.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The original animated 1989 film tells the story of a young mermaid, Ariel, who falls in love with a human prince. In order to win him over, she makes a deal with a sea witch named Ursula to become a human.\u003c/p>\n\u003cp>The Little Mermaid is set to be released in theaters on May 26, 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Takeaways From the 2022 Emmy Awards",
"headTitle": "Five Takeaways From the 2022 Emmy Awards | KQED",
"content": "\u003cp>Emmy night was a big one for a lot of different shows: \u003cem>Squid Game\u003c/em>, \u003cem>Succession\u003c/em>, \u003cem>Ted Lasso\u003c/em>, \u003cem>The White Lotus\u003c/em>. There were very strange music choices (why did Jesse Armstrong collect an Emmy for writing \u003cem>Succession \u003c/em>and walk on stage to “Shake Your Booty”?) and bits that dragged on too long (especially Jimmy Kimmel’s play-dead routine that lasted right through Quinta Brunson’s win for comedy writing for \u003cem>Abbott Elementary\u003c/em>). But there were also great speeches and encouraging wins, and we’re here to look at five takeaways from the ceremony as a whole. (Here’s \u003ca href=\"https://www.npr.org/2022/09/12/1122305852/emmys-2022-full-list-of-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">a complete list of winners\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>1. The great Sheryl Lee Ralph won the night.\u003c/strong>\u003c/p>\n\u003cp>There are years when you have to try to figure out what was the best moment of the ceremony; this was not one of those years.\u003c/p>\n\u003cp>When Sheryl Lee Ralph accepted the award for outstanding supporting actress in a comedy series for \u003cem>Abbott Elementary\u003c/em>, her speech was not only the best moment of the night, but it’s up there for the best moment of the Emmys… maybe ever?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cRw8IFLS1Fs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ralph took the stage and sang Dianne Reeves’ “Endangered Species” a cappella—something few people could do effectively. She then spoke rousingly, beautifully and encouragingly about the importance of never giving up your dreams and how you should value all the people who take care of you. It’s worth downloading the whole speech to your phone so that you can play it for yourself the next time you are discouraged, but really, it belongs uniquely to her and the power of her talent and her history. Her career in TV stretches back to the 1980s, but with this award she became only the second Black woman to win in the category (after Jackée Harry for \u003cem>227\u003c/em>). While it was overdue, it was great to see.\u003c/p>\n\u003cp>\u003cstrong>2. The show still needs more time for speeches and less for montages and scripted banter.\u003c/strong>\u003c/p>\n\u003cp>This particular Emmy ceremony, with a couple of notable exceptions, seemed to be playing people off quickly, even though some of them, like Jennifer Coolidge, were very entertaining. Coolidge won best supporting actress in a limited series for her work in \u003cem>The White Lotus;\u003c/em> after trying and trying to get the show to let her say a couple more things, Coolidge heard “Hit The Road, Jack” start up and, rather than hurrying off stage, she danced, to a roar from the crowd.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y-9yNVGiOpE\u003c/p>\n\u003cp>At the same time winners fought for spare seconds, dull montages that were little more than “here are some TV shows” were allowed to linger, as were scripted bits that seemed less satisfying than the cut-off speeches, even when those sketches were performed by able comedians like host Kenan Thompson and the very funny Bowen Yang. Awards show producers seem convinced that people want all the stuff in between the awards more than they want the awards; betting on the charm of a speech instead of another montage will rarely be the wrong decision.\u003c/p>\n\u003cp>\u003cstrong>3. There weren’t a lot of big surprises. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Ted Lasso \u003c/em>and \u003cem>Succession \u003c/em>were both expected to win their respective categories of comedy series and drama series… and they did. \u003cem>The White Lotus \u003c/em>cleaned up in the limited series awards with wins for Coolidge and Murray Bartlett in the supporting categories and for Mike White in directing and writing.\u003c/p>\n\u003cp>Yet none of those shows swept the awards. Amanda Seyfried took lead actress for \u003cem>The Dropout \u003c/em>and Michael Keaton won for lead actor in \u003cem>Dopesick\u003c/em>. Lee Jung-jae won lead actor in a drama series for \u003cem>Squid Game, \u003c/em>the first Asian man to ever be so honored. This might be a surprise, since it’s the first time someone has won for a performance where they didn’t speak English, but the sheer phenomenon of the show and its big haul of nominations had suggested it had a good shot at doing well.\u003c/p>\n\u003cp>Perhaps the nicest surprise was Lizzo’s \u003cem>Watch Out For The Big Grrrls, \u003c/em>which broke \u003cem>RuPaul’s Drag Race\u003c/em> streak of four wins in the reality competition category. That win led (of course) to a powerful and joyful speech from Lizzo about the importance of representation—a running theme over the course of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zdWc-MW4HCM\u003c/p>\n\u003cp>\u003cstrong>4. There’s still plenty of repetition. \u003c/strong>\u003c/p>\n\u003cp>Even with competition running hot in almost every category and a lack of shows dominating the awards the way sitcoms like \u003cem>Frasier \u003c/em>and \u003cem>Modern Family \u003c/em>once did, there were lots of repeat winners.\u003c/p>\n\u003cp>[aside postid='arts_13918217']\u003cem>Saturday Night Live \u003c/em>won again in the variety sketch category (its only rival was \u003cem>A Black Lady Sketch Show\u003c/em>); it was its sixth win in a row, a pretty boring outcome. \u003cem>Succession \u003c/em>repeated last year’s win in the outstanding drama series category, as did \u003cem>Ted Lasso \u003c/em>in its own category of outstanding comedy series. Plus, \u003cem>Ted Lasso\u003c/em> actors Jason Sudeikis and Brett Goldstein won again in the lead and supporting categories.\u003c/p>\n\u003cp>That wasn’t all. Zendaya, who won the award for outstanding lead actress in a drama series for \u003cem>Euphoria \u003c/em>two years ago, won again. Jean Smart won for \u003cem>Hacks \u003c/em>for lead actress in a comedy series for the second year in a row. Perhaps most impressive of all, \u003cem>Last Week Tonight with John Oliver \u003c/em>won its seventh straight award for outstanding variety talk series, continuing to beat \u003cem>The Daily Show \u003c/em>as well as all of network late night.\u003c/p>\n\u003cp>\u003cstrong>5. People want to see new winners have a real chance. \u003c/strong>\u003c/p>\n\u003cp>It’s more an observation of public reaction than of the show itself, but standards seem to have changed for when a show has won “too much.” Back in the days when there were far fewer shows to choose from, it wasn’t until something racked up five or six wins—that pressure started to mount to get something else, anything else, up on stage with a win.\u003c/p>\n\u003cp>But now, with so much out there and so much that’s good, even two wins for \u003cem>Ted Lasso \u003c/em>seems repetitive, particularly when there’s a show that feels as fresh as \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13917950']The Emmys are starting to have an enviable problem: Even when people disagree with the outcome of a contest, it might be less that a show is undeserving and more that there’s simply something else that deserves a shot in a stacked category. Even the great Jean Smart, beloved by so many over such a tremendous career and absolutely marvelous on \u003cem>Hacks\u003c/em>, might not have been the first choice of many people. That’s not because of her ability; it’s because this was a year where she faced opponents like Brunson, who is a new face, and Issa Rae, who’s been nominated for \u003cem>Insecure \u003c/em>several times but has never won. This is one of the reasons the \u003cem>Squid Game \u003c/em>wins feels invigorating—the show is new.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s one thing for a win to feel deserved; it’s another for it to feel exciting. Even a second or third win can seem rote by now, so bring on the new contenders, and we’ll be glad to see 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=Five+takeaways+from+the+2022+Emmy+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 2022 Emmys handed out awards to 'Succession,' 'Squid Game,' 'Abbott Elementary,' 'Here's To The Big Grrrls' and many more.",
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"description": "The 2022 Emmys handed out awards to 'Succession,' 'Squid Game,' 'Abbott Elementary,' 'Here's To The Big Grrrls' and many more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emmy night was a big one for a lot of different shows: \u003cem>Squid Game\u003c/em>, \u003cem>Succession\u003c/em>, \u003cem>Ted Lasso\u003c/em>, \u003cem>The White Lotus\u003c/em>. There were very strange music choices (why did Jesse Armstrong collect an Emmy for writing \u003cem>Succession \u003c/em>and walk on stage to “Shake Your Booty”?) and bits that dragged on too long (especially Jimmy Kimmel’s play-dead routine that lasted right through Quinta Brunson’s win for comedy writing for \u003cem>Abbott Elementary\u003c/em>). But there were also great speeches and encouraging wins, and we’re here to look at five takeaways from the ceremony as a whole. (Here’s \u003ca href=\"https://www.npr.org/2022/09/12/1122305852/emmys-2022-full-list-of-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">a complete list of winners\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>1. The great Sheryl Lee Ralph won the night.\u003c/strong>\u003c/p>\n\u003cp>There are years when you have to try to figure out what was the best moment of the ceremony; this was not one of those years.\u003c/p>\n\u003cp>When Sheryl Lee Ralph accepted the award for outstanding supporting actress in a comedy series for \u003cem>Abbott Elementary\u003c/em>, her speech was not only the best moment of the night, but it’s up there for the best moment of the Emmys… maybe ever?\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/cRw8IFLS1Fs'\n title='//www.youtube.com/embed/cRw8IFLS1Fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ralph took the stage and sang Dianne Reeves’ “Endangered Species” a cappella—something few people could do effectively. She then spoke rousingly, beautifully and encouragingly about the importance of never giving up your dreams and how you should value all the people who take care of you. It’s worth downloading the whole speech to your phone so that you can play it for yourself the next time you are discouraged, but really, it belongs uniquely to her and the power of her talent and her history. Her career in TV stretches back to the 1980s, but with this award she became only the second Black woman to win in the category (after Jackée Harry for \u003cem>227\u003c/em>). While it was overdue, it was great to see.\u003c/p>\n\u003cp>\u003cstrong>2. The show still needs more time for speeches and less for montages and scripted banter.\u003c/strong>\u003c/p>\n\u003cp>This particular Emmy ceremony, with a couple of notable exceptions, seemed to be playing people off quickly, even though some of them, like Jennifer Coolidge, were very entertaining. Coolidge won best supporting actress in a limited series for her work in \u003cem>The White Lotus;\u003c/em> after trying and trying to get the show to let her say a couple more things, Coolidge heard “Hit The Road, Jack” start up and, rather than hurrying off stage, she danced, to a roar from the crowd.\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/y-9yNVGiOpE'\n title='//www.youtube.com/embed/y-9yNVGiOpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the same time winners fought for spare seconds, dull montages that were little more than “here are some TV shows” were allowed to linger, as were scripted bits that seemed less satisfying than the cut-off speeches, even when those sketches were performed by able comedians like host Kenan Thompson and the very funny Bowen Yang. Awards show producers seem convinced that people want all the stuff in between the awards more than they want the awards; betting on the charm of a speech instead of another montage will rarely be the wrong decision.\u003c/p>\n\u003cp>\u003cstrong>3. There weren’t a lot of big surprises. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Ted Lasso \u003c/em>and \u003cem>Succession \u003c/em>were both expected to win their respective categories of comedy series and drama series… and they did. \u003cem>The White Lotus \u003c/em>cleaned up in the limited series awards with wins for Coolidge and Murray Bartlett in the supporting categories and for Mike White in directing and writing.\u003c/p>\n\u003cp>Yet none of those shows swept the awards. Amanda Seyfried took lead actress for \u003cem>The Dropout \u003c/em>and Michael Keaton won for lead actor in \u003cem>Dopesick\u003c/em>. Lee Jung-jae won lead actor in a drama series for \u003cem>Squid Game, \u003c/em>the first Asian man to ever be so honored. This might be a surprise, since it’s the first time someone has won for a performance where they didn’t speak English, but the sheer phenomenon of the show and its big haul of nominations had suggested it had a good shot at doing well.\u003c/p>\n\u003cp>Perhaps the nicest surprise was Lizzo’s \u003cem>Watch Out For The Big Grrrls, \u003c/em>which broke \u003cem>RuPaul’s Drag Race\u003c/em> streak of four wins in the reality competition category. That win led (of course) to a powerful and joyful speech from Lizzo about the importance of representation—a running theme over the course of the evening.\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/zdWc-MW4HCM'\n title='//www.youtube.com/embed/zdWc-MW4HCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. There’s still plenty of repetition. \u003c/strong>\u003c/p>\n\u003cp>Even with competition running hot in almost every category and a lack of shows dominating the awards the way sitcoms like \u003cem>Frasier \u003c/em>and \u003cem>Modern Family \u003c/em>once did, there were lots of repeat winners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Saturday Night Live \u003c/em>won again in the variety sketch category (its only rival was \u003cem>A Black Lady Sketch Show\u003c/em>); it was its sixth win in a row, a pretty boring outcome. \u003cem>Succession \u003c/em>repeated last year’s win in the outstanding drama series category, as did \u003cem>Ted Lasso \u003c/em>in its own category of outstanding comedy series. Plus, \u003cem>Ted Lasso\u003c/em> actors Jason Sudeikis and Brett Goldstein won again in the lead and supporting categories.\u003c/p>\n\u003cp>That wasn’t all. Zendaya, who won the award for outstanding lead actress in a drama series for \u003cem>Euphoria \u003c/em>two years ago, won again. Jean Smart won for \u003cem>Hacks \u003c/em>for lead actress in a comedy series for the second year in a row. Perhaps most impressive of all, \u003cem>Last Week Tonight with John Oliver \u003c/em>won its seventh straight award for outstanding variety talk series, continuing to beat \u003cem>The Daily Show \u003c/em>as well as all of network late night.\u003c/p>\n\u003cp>\u003cstrong>5. People want to see new winners have a real chance. \u003c/strong>\u003c/p>\n\u003cp>It’s more an observation of public reaction than of the show itself, but standards seem to have changed for when a show has won “too much.” Back in the days when there were far fewer shows to choose from, it wasn’t until something racked up five or six wins—that pressure started to mount to get something else, anything else, up on stage with a win.\u003c/p>\n\u003cp>But now, with so much out there and so much that’s good, even two wins for \u003cem>Ted Lasso \u003c/em>seems repetitive, particularly when there’s a show that feels as fresh as \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Emmys are starting to have an enviable problem: Even when people disagree with the outcome of a contest, it might be less that a show is undeserving and more that there’s simply something else that deserves a shot in a stacked category. Even the great Jean Smart, beloved by so many over such a tremendous career and absolutely marvelous on \u003cem>Hacks\u003c/em>, might not have been the first choice of many people. That’s not because of her ability; it’s because this was a year where she faced opponents like Brunson, who is a new face, and Issa Rae, who’s been nominated for \u003cem>Insecure \u003c/em>several times but has never won. This is one of the reasons the \u003cem>Squid Game \u003c/em>wins feels invigorating—the show is new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s one thing for a win to feel deserved; it’s another for it to feel exciting. Even a second or third win can seem rote by now, so bring on the new contenders, and we’ll be glad to see 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=Five+takeaways+from+the+2022+Emmy+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Showtime's 'American Gigolo' Sequel Lacks the Highfalutin Glitz of the Original",
"headTitle": "Showtime’s ‘American Gigolo’ Sequel Lacks the Highfalutin Glitz of the Original | KQED",
"content": "\u003cp>When I was growing up, remakes, sequels and prequels were considered slightly dodgy—either a money grab or an admission that one didn’t have the chops to be original. These days they’re what the world seems to embrace, be it \u003ca href=\"https://www.npr.org/2022/05/23/1099470229/top-gun-maverick-review-tom-cruise-sequel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Top Gun: Maverick\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>House of the Dragon\u003c/em>\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">\u003cem>Better Call Saul\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917861']The latest case is the Showtime series \u003cem>American Gigolo\u003c/em>. It’s a sequel to \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schrader’\u003c/a>s hit 1980 movie, which starred Richard Gere as Julian Kay, a high-end LA escort who gets framed for murder only to be redeemed by the love of a good woman, played by Lauren Hutton.\u003c/p>\n\u003cp>As it mixed potboiler material with ideas of religious transcendence, the film was often silly. But it was also memorable. Bristling with expensive, production-designed amorality, it offered the pounding beat of \u003ca href=\"https://www.npr.org/artists/512831993/blondie\">Blondie \u003c/a>performing “Call Me,” the image of Julian’s closet bursting with Armani clothing—the movie helped launch that brand in America—and the sight of Gere dishing up the first full-frontal nude scene by a male star in a studio film. \u003cem>American Gigolo\u003c/em> was one of those Hollywood “classics” that became mythic without being particularly good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NTavf-5Mdpo\u003c/p>\n\u003cp>Aside from its title, there’s nothing remotely mythic about the new series, which transfers Julian’s story into the 21st Century. Where Schrader created a deliberately opaque metaphorical fantasy, the show’s creator, David Hollander, takes a more literal-minded approach. He fiddles with the original plot, trading in highfalutin glitz for explanatory backstory and a conventional murder mystery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The action begins when Julian—now played by the excellent actor Jon Bernthal—is exonerated for a murder he didn’t commit and gets released from prison after 15 years. Wiser and worn, Julian doesn’t want to return to his slinky old life. He wants to live clean, though he’s also eager to find out who set him up for the murder. This means getting back in touch with people from his gigolo days: his handler Olga, who got him into the business, his escort pal Lorenzo, and his old lover Michelle—that’s Gretchen Mol in the Hutton role—whose son is heading into serious trouble.\u003c/p>\n\u003cp>Predictably, Julian’s return stirs things up. Soon there’s another murder, and before he knows it, a police detective—oddly played by Rosie O’Donnell—looks eager to pin it on him. Nobody seems willing to help Julian, including his old flame Michelle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RLy3OJvMgYg\u003c/p>\n\u003cp>When I heard that they were turning \u003cem>American Gigolo\u003c/em> into a series I was curious but dubious. Schrader himself has called the project a terrible idea, but no matter: He doesn’t own the rights to the characters. In France, artists are protected by the so-called \u003cem>droit moral\u003c/em>, or moral right, which means you can’t take their creations and do with them what you will. But this is America, so the series was made anyway, taking Julian’s story in a direction that Schrader—a complicated, genuinely fascinating man—would surely find banal.\u003c/p>\n\u003cp>Even as Julian’s backstory involves a strange abuse narrative—the show’s shot through with a startling misogyny—he himself becomes muted. Where Gere exuded a smug, plasticine perfection—he came from seemingly nowhere, like a sexy android—Bernthal’s weathered Julian is weighed down by regrets and confusion. He has none of the pop zing that made Julian a cultural touchstone.\u003c/p>\n\u003cp>[aside postid='arts_13918810']One reason \u003cem>American Gigolo\u003c/em> resonated in 1980 was that Schrader caught the direction of American culture before most people did. Indeed, the film’s rapt attention to money, consumerism and spiritual emptiness made it the first of many Reagan era morality plays—one that actually came out nine months before Reagan was even elected. It remains an emblem of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I can’t imagine that this will happen with the TV series, which relies too much on people knowing—and caring about—a movie that was made four decades ago. Then again, maybe this new \u003cem>American Gigolo\u003c/em> DOES capture our current American mood. It’s the story of a once cocksure man who now wears T-shirts and drives a borrowed convertible he can’t begin to afford. As Julian looks back on his often glittering past, he wonders exactly what happened to his life and how it all went wrong.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+%27American+Gigolo%27+sequel+lacks+the+highfalutin+glitz+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was growing up, remakes, sequels and prequels were considered slightly dodgy—either a money grab or an admission that one didn’t have the chops to be original. These days they’re what the world seems to embrace, be it \u003ca href=\"https://www.npr.org/2022/05/23/1099470229/top-gun-maverick-review-tom-cruise-sequel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Top Gun: Maverick\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>House of the Dragon\u003c/em>\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">\u003cem>Better Call Saul\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The latest case is the Showtime series \u003cem>American Gigolo\u003c/em>. It’s a sequel to \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schrader’\u003c/a>s hit 1980 movie, which starred Richard Gere as Julian Kay, a high-end LA escort who gets framed for murder only to be redeemed by the love of a good woman, played by Lauren Hutton.\u003c/p>\n\u003cp>As it mixed potboiler material with ideas of religious transcendence, the film was often silly. But it was also memorable. Bristling with expensive, production-designed amorality, it offered the pounding beat of \u003ca href=\"https://www.npr.org/artists/512831993/blondie\">Blondie \u003c/a>performing “Call Me,” the image of Julian’s closet bursting with Armani clothing—the movie helped launch that brand in America—and the sight of Gere dishing up the first full-frontal nude scene by a male star in a studio film. \u003cem>American Gigolo\u003c/em> was one of those Hollywood “classics” that became mythic without being particularly good.\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/NTavf-5Mdpo'\n title='//www.youtube.com/embed/NTavf-5Mdpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aside from its title, there’s nothing remotely mythic about the new series, which transfers Julian’s story into the 21st Century. Where Schrader created a deliberately opaque metaphorical fantasy, the show’s creator, David Hollander, takes a more literal-minded approach. He fiddles with the original plot, trading in highfalutin glitz for explanatory backstory and a conventional murder mystery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The action begins when Julian—now played by the excellent actor Jon Bernthal—is exonerated for a murder he didn’t commit and gets released from prison after 15 years. Wiser and worn, Julian doesn’t want to return to his slinky old life. He wants to live clean, though he’s also eager to find out who set him up for the murder. This means getting back in touch with people from his gigolo days: his handler Olga, who got him into the business, his escort pal Lorenzo, and his old lover Michelle—that’s Gretchen Mol in the Hutton role—whose son is heading into serious trouble.\u003c/p>\n\u003cp>Predictably, Julian’s return stirs things up. Soon there’s another murder, and before he knows it, a police detective—oddly played by Rosie O’Donnell—looks eager to pin it on him. Nobody seems willing to help Julian, including his old flame Michelle.\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/RLy3OJvMgYg'\n title='//www.youtube.com/embed/RLy3OJvMgYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I heard that they were turning \u003cem>American Gigolo\u003c/em> into a series I was curious but dubious. Schrader himself has called the project a terrible idea, but no matter: He doesn’t own the rights to the characters. In France, artists are protected by the so-called \u003cem>droit moral\u003c/em>, or moral right, which means you can’t take their creations and do with them what you will. But this is America, so the series was made anyway, taking Julian’s story in a direction that Schrader—a complicated, genuinely fascinating man—would surely find banal.\u003c/p>\n\u003cp>Even as Julian’s backstory involves a strange abuse narrative—the show’s shot through with a startling misogyny—he himself becomes muted. Where Gere exuded a smug, plasticine perfection—he came from seemingly nowhere, like a sexy android—Bernthal’s weathered Julian is weighed down by regrets and confusion. He has none of the pop zing that made Julian a cultural touchstone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One reason \u003cem>American Gigolo\u003c/em> resonated in 1980 was that Schrader caught the direction of American culture before most people did. Indeed, the film’s rapt attention to money, consumerism and spiritual emptiness made it the first of many Reagan era morality plays—one that actually came out nine months before Reagan was even elected. It remains an emblem of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I can’t imagine that this will happen with the TV series, which relies too much on people knowing—and caring about—a movie that was made four decades ago. Then again, maybe this new \u003cem>American Gigolo\u003c/em> DOES capture our current American mood. It’s the story of a once cocksure man who now wears T-shirts and drives a borrowed convertible he can’t begin to afford. As Julian looks back on his often glittering past, he wonders exactly what happened to his life and how it all went wrong.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+%27American+Gigolo%27+sequel+lacks+the+highfalutin+glitz+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Does Controversy Sell Movie Tickets? The Cast of 'Don't Worry Darling' Might Find Out",
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"content": "\u003cp>The 2022 Venice Film Festival started a little over a week ago, and one film has dominated much of the conversation\u003cstrong>—\u003c/strong>not because of its cinematography, editing or script, but because of reported behind-the-scenes drama that’s stolen the spotlight.\u003c/p>\n\u003cp>\u003cem>Don’t Worry Darling\u003c/em> is director Olivia Wilde’s second feature film, following her 2019 debut, \u003cem>Booksmart\u003c/em>. The movie, which stars Florence Pugh, Harry Styles, Chris Pine, Gemma Chan and Wilde herself, premiered on Monday at the festival and is scheduled for wide release on Sept. 23.\u003c/p>\n\u003cp>[aside postid='pop_112069']The film is a psychological thriller set in the 1950s, in the fictional town of Victory, California. Pugh and Styles play Alice and Jack, a married couple who live in the town, which was built by the company Jack works for. As Alice tries to learn more about her community, tensions begin to arise between her and her new neighbors.\u003c/p>\n\u003cp>Reportedly, the production of the film had also been filled with tension, and interactions between the stars at Venice left the internet to speculate wildly.\u003c/p>\n\u003cp>“Some aspects of the unfolding interpersonal drama definitely appear like an unwieldy mess,” Nicholas Baer, Assistant Professor of Media, Arts & Society at Utrecht University, told NPR. “So although it’s always tricky to gauge intentionality, I’d imagine it’s a combination of ‘authentic’ drama and savvy image manipulation.”\u003c/p>\n\u003ch3>The memes begin at the Venice Film Festival\u003c/h3>\n\u003cp>On Monday morning ahead of the premiere, Wilde and the film’s stars participated in a press conference—most of them, that is. Absent from the panel was Pugh, who flew to Italy from Budapest where she had been filming the sequel to \u003cem>Dune\u003c/em>. \u003ca href=\"https://variety.com/2022/film/news/florence-pugh-skips-dont-worry-darling-venice-film-festival-1235360015/\" target=\"_blank\" rel=\"noopener noreferrer\">Festival representatives told \u003cem>Variety \u003c/em>\u003c/a>that her nonattendance was because her flight to Italy wouldn’t land until after the presser had taken place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pugh has not spoken much about the film \u003ca href=\"https://screenrant.com/florence-pugh-olivia-wilde-feud-dont-worry-darling/\" target=\"_blank\" rel=\"noopener noreferrer\">on social media or to press \u003c/a>since it finished filming, which has led to speculation that she did not enjoy her time on set.\u003c/p>\n\u003cp>[aside postid='arts_13883932']The press had many questions for Wilde regarding her working relationship with Pugh and, in response, the director praised the actress for her work. “I can’t say how honored I am to have her as our lead. She’s amazing.”\u003c/p>\n\u003cp>When asked about working on the film, Harry Styles—who is dating Wilde—gave a response that the internet is still trying to understand: “The thing I like about the movie is that it feels like a movie.” Chris Pine’s reaction to this moment birthed memes that would pave the way for many more to come.\u003c/p>\n\u003cp>https://twitter.com/rohmerfilm/status/1566799179694964737\u003c/p>\n\u003cp>https://twitter.com/fiImgal/status/1566791599706759168\u003c/p>\n\u003ch3>Florence Pugh toasts the internet\u003c/h3>\n\u003cp>Pugh later arrived at the festival in time for the film’s red carpet premiere. In a video originally posted to \u003ca href=\"https://www.instagram.com/p/CiIDYqFjXRo/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, Pugh was seen toasting the camera while carrying an Aperol Spritz in a purple Valentino ensemble—a carefree look that sparked yet more buzz.\u003c/p>\n\u003cp>https://twitter.com/goldenheartvhes/status/1566772285729562625\u003c/p>\n\u003ch3>Across the great divide on the red carpet\u003c/h3>\n\u003cp>The night of the film’s premiere began relatively lightheartedly, with Chris Pine taking pictures of Florence Pugh on the red carpet.\u003c/p>\n\u003cp>https://twitter.com/cpinedaily/status/1566841486519549954\u003c/p>\n\u003cp>But then, as the cast began getting ready for a group photo on the red carpet, it appeared that Pugh, Wilde and Styles were strategically separated by fellow actors Pine, Chan, Sydney Chandler and Nick Kroll.\u003c/p>\n\u003cp>https://twitter.com/cpinedaily/status/1566843411788926978\u003c/p>\n\u003ch3>Could all of this be a PR stunt? Experts weigh in\u003c/h3>\n\u003cp>Internet speculation didn’t stop once the cast went into the theater. The actors were placed in a seating arrangement closely resembling the cast photo, and Chris Pine once again continued his run at the top of the meme leaderboard as he put on his sunglasses just as the lights went down in the theater.\u003c/p>\n\u003cp>https://twitter.com/tracesofswift/status/1566859141905321992\u003c/p>\n\u003cp>This brings us to a hotly debated moment between Harry Styles and Chris Pine. In a video circulated on social media, Styles approached his seat next to Pine and appeared to lean slightly over, with his lips moving in a puckering motion—then, a moment where Pine stopped clapping, looked down at his lap and laughed. The suspicious movement around Styles’ mouth made some wonder: Did Harry Styles spit on Chris Pine?\u003c/p>\n\u003cp>Although Pine’s publicist told \u003cem>People \u003c/em>that \u003ca href=\"https://people.com/movies/chris-pine-harry-styles-spitting-viral-video-ridiculous-claim-dont-worry-darling-exclusive/\" target=\"_blank\" rel=\"noopener noreferrer\">such claims are “complete fabrication,”\u003c/a> the video regardless sent the internet into an uproar of \u003ca href=\"https://twitter.com/indiespicee/status/1566982189547458560\" target=\"_blank\" rel=\"noopener noreferrer\">jokes\u003c/a>,\u003ca href=\"https://twitter.com/Mac70J/status/1566958343461249024\" target=\"_blank\" rel=\"noopener noreferrer\"> takes\u003c/a> and slo-mo’ed \u003ca href=\"https://twitter.com/StevenWallaby/status/1566958106009128960\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a>. Analyzing the videos of #Spittake, as some users have put it, has become the Zapruder film of Twitter.\u003c/p>\n\u003cp>https://twitter.com/indiespicee/status/1567128008833601539\u003c/p>\n\u003cp>https://twitter.com/DanaSchwartzzz/status/1566988496530972672\u003c/p>\n\u003cp>The film has generally not been well received by critics, and there continues to be heavy speculation online that all of this press has been drummed up to help create a buzz for the film.\u003c/p>\n\u003cp>https://twitter.com/ThePopTingz/status/1566852336160481282\u003c/p>\n\u003cp>“As a communications guy, my gut reaction to this kind of thing when it is on an international stage is that it is all about getting attention,” says film and media historian Chris Yogerst. “Of course, we learned there was more to the story with the notorious Oscars slap. That may be the case here as well, but because there were many smiles all around, my guess is that this is a PR move or an inside joke of some kind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A lot of speculation and confusion surrounds what is really going on behind the scenes in the movie, which runs parallel with themes seen in the film, Baer said—”a focus on polished appearances and the cracks in attractive facades.”\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=Does+controversy+sell+movie+tickets%3F+The+cast+of+%27Don%27t+Worry+Darling%27+might+find+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is a psychological thriller set in the 1950s, in the fictional town of Victory, California. Pugh and Styles play Alice and Jack, a married couple who live in the town, which was built by the company Jack works for. As Alice tries to learn more about her community, tensions begin to arise between her and her new neighbors.\u003c/p>\n\u003cp>Reportedly, the production of the film had also been filled with tension, and interactions between the stars at Venice left the internet to speculate wildly.\u003c/p>\n\u003cp>“Some aspects of the unfolding interpersonal drama definitely appear like an unwieldy mess,” Nicholas Baer, Assistant Professor of Media, Arts & Society at Utrecht University, told NPR. “So although it’s always tricky to gauge intentionality, I’d imagine it’s a combination of ‘authentic’ drama and savvy image manipulation.”\u003c/p>\n\u003ch3>The memes begin at the Venice Film Festival\u003c/h3>\n\u003cp>On Monday morning ahead of the premiere, Wilde and the film’s stars participated in a press conference—most of them, that is. Absent from the panel was Pugh, who flew to Italy from Budapest where she had been filming the sequel to \u003cem>Dune\u003c/em>. \u003ca href=\"https://variety.com/2022/film/news/florence-pugh-skips-dont-worry-darling-venice-film-festival-1235360015/\" target=\"_blank\" rel=\"noopener noreferrer\">Festival representatives told \u003cem>Variety \u003c/em>\u003c/a>that her nonattendance was because her flight to Italy wouldn’t land until after the presser had taken place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pugh has not spoken much about the film \u003ca href=\"https://screenrant.com/florence-pugh-olivia-wilde-feud-dont-worry-darling/\" target=\"_blank\" rel=\"noopener noreferrer\">on social media or to press \u003c/a>since it finished filming, which has led to speculation that she did not enjoy her time on set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The press had many questions for Wilde regarding her working relationship with Pugh and, in response, the director praised the actress for her work. “I can’t say how honored I am to have her as our lead. She’s amazing.”\u003c/p>\n\u003cp>When asked about working on the film, Harry Styles—who is dating Wilde—gave a response that the internet is still trying to understand: “The thing I like about the movie is that it feels like a movie.” Chris Pine’s reaction to this moment birthed memes that would pave the way for many more to come.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Florence Pugh toasts the internet\u003c/h3>\n\u003cp>Pugh later arrived at the festival in time for the film’s red carpet premiere. In a video originally posted to \u003ca href=\"https://www.instagram.com/p/CiIDYqFjXRo/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, Pugh was seen toasting the camera while carrying an Aperol Spritz in a purple Valentino ensemble—a carefree look that sparked yet more buzz.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Across the great divide on the red carpet\u003c/h3>\n\u003cp>The night of the film’s premiere began relatively lightheartedly, with Chris Pine taking pictures of Florence Pugh on the red carpet.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But then, as the cast began getting ready for a group photo on the red carpet, it appeared that Pugh, Wilde and Styles were strategically separated by fellow actors Pine, Chan, Sydney Chandler and Nick Kroll.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Could all of this be a PR stunt? Experts weigh in\u003c/h3>\n\u003cp>Internet speculation didn’t stop once the cast went into the theater. The actors were placed in a seating arrangement closely resembling the cast photo, and Chris Pine once again continued his run at the top of the meme leaderboard as he put on his sunglasses just as the lights went down in the theater.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This brings us to a hotly debated moment between Harry Styles and Chris Pine. In a video circulated on social media, Styles approached his seat next to Pine and appeared to lean slightly over, with his lips moving in a puckering motion—then, a moment where Pine stopped clapping, looked down at his lap and laughed. The suspicious movement around Styles’ mouth made some wonder: Did Harry Styles spit on Chris Pine?\u003c/p>\n\u003cp>Although Pine’s publicist told \u003cem>People \u003c/em>that \u003ca href=\"https://people.com/movies/chris-pine-harry-styles-spitting-viral-video-ridiculous-claim-dont-worry-darling-exclusive/\" target=\"_blank\" rel=\"noopener noreferrer\">such claims are “complete fabrication,”\u003c/a> the video regardless sent the internet into an uproar of \u003ca href=\"https://twitter.com/indiespicee/status/1566982189547458560\" target=\"_blank\" rel=\"noopener noreferrer\">jokes\u003c/a>,\u003ca href=\"https://twitter.com/Mac70J/status/1566958343461249024\" target=\"_blank\" rel=\"noopener noreferrer\"> takes\u003c/a> and slo-mo’ed \u003ca href=\"https://twitter.com/StevenWallaby/status/1566958106009128960\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a>. Analyzing the videos of #Spittake, as some users have put it, has become the Zapruder film of Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The film has generally not been well received by critics, and there continues to be heavy speculation online that all of this press has been drummed up to help create a buzz for the film.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“As a communications guy, my gut reaction to this kind of thing when it is on an international stage is that it is all about getting attention,” says film and media historian Chris Yogerst. “Of course, we learned there was more to the story with the notorious Oscars slap. That may be the case here as well, but because there were many smiles all around, my guess is that this is a PR move or an inside joke of some kind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A lot of speculation and confusion surrounds what is really going on behind the scenes in the movie, which runs parallel with themes seen in the film, Baer said—”a focus on polished appearances and the cracks in attractive facades.”\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=Does+controversy+sell+movie+tickets%3F+The+cast+of+%27Don%27t+Worry+Darling%27+might+find+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Brendan Fraser's Hollywood Comeback Story is Both Warming Hearts and Raising Ire",
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"content": "\u003cp>Brendan Fraser is officially on a comeback.\u003c/p>\n\u003cp>\u003cem>The Whale\u003c/em>, a new Darren Aronofsky film in which Fraser stars, premiered at the Venice Film Festival Sunday night to a \u003ca href=\"https://www.npr.org/2022/09/05/1121100965/brendan-fraser-standing-ovation-the-whale\" target=\"_blank\" rel=\"noopener noreferrer\">six-minute standing ovation.\u003c/a>\u003c/p>\n\u003cp>Actors and longtime fans alike took to social media to share their own happiness at the recognition Fraser received with this latest role. As the applause continued for Fraser on Sunday, the actor and some audience members appeared to get choked up.\u003c/p>\n\u003cp>This comes years after Fraser was at the height of his career. So, why has this moment has brought so many people joy at the same time that others lament the fact that \u003cem>this film\u003c/em> is Fraser’s return to stardom?\u003c/p>\n\u003cp>Fraser was once a major star with hits such as \u003cem>George of the Jungle \u003c/em>and \u003cem>The Mummy \u003c/em>franchise. But after a sustained run as one of Hollywood’s leading men, Fraser receded to the sidelines of TV and film in recent years.\u003c/p>\n\u003cfigure id=\"attachment_13918750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-806483-ebf98b3b6a4331742265cb393e022c06c07ac36e-800x600.jpg\" alt=\"A dashing young man wearing a white shirt, sleeves rolled up, stands poised for action, two ancient-looking weapons held out in front of him.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in ‘The Mummy Returns.’ \u003ccite>(Keith Hamshere/Universal Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Fraser who was so “universally loved” by the public for so long receive praise resonated with fans, according to film and media historian Chris Yogerst.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s almost like the public was just waiting for this moment,” said Yogerst. “Everyone has missed him. Seeing him back on the screen, it was like an old friend was back.”\u003c/p>\n\u003cp>Nostalgia certainly plays into the joy this moment brings to some people, Yogerst said.\u003c/p>\n\u003cp>“I mean, I’m still nostalgic about the silly remake of \u003cem>Bedazzled,” \u003c/em>a Fraser movie with Elizabeth Hurley that came out in 2000, Yogerst said.\u003c/p>\n\u003cp>Part of this collective happiness also stems from knowledge of Fraser’s recent struggles, according to Nicholas Baer, an assistant professor of film studies at the University of Groningen in the Netherlands.\u003c/p>\n\u003cp>After Fraser was absent from any big Hollywood movie for several years, \u003ca href=\"https://www.gq.com/story/what-ever-happened-to-brendan-fraser\">\u003cem>GQ\u003c/em> published a profile\u003c/a> in 2018 of the actor titled, “What ever happened to Brendan Fraser?”\u003c/p>\n\u003cp>[aside postid='arts_13917642']In it, Fraser discussed years of suffering from injuries (sustained from performing stunts during filming of \u003cem>The Mummy\u003c/em> franchise), subsequent surgeries, personal loss and a divorce. Most startling were details Fraser shared of being allegedly groped by Philip Berk, a former president of the Hollywood Foreign Press Association. Berk told \u003cem>GQ \u003c/em>that Fraser’s account was “a total fabrication.”\u003c/p>\n\u003cp>Fraser in the \u003cem>GQ \u003c/em>article openly questioned whether he was actually blacklisted from Hollywood because he came forward about his experience.\u003c/p>\n\u003cp>“[\u003cem>The Whale\u003c/em>] is offering us an opportunity to kind of recognize the virtue and the kind of fundamental decency of Brendan Fraser, who has been really wronged by the industry and has long suffered,” Baer said.\u003c/p>\n\u003ch3>A comeback with controversy\u003c/h3>\n\u003cp>\u003cem>The Whale\u003c/em> is about a reclusive English teacher (Fraser) who weighs 600 pounds, and as he struggles with his health, tries to reconnect with his estranged daughter. A combination of prosthetics and CGI help Fraser as he portrays this character.\u003c/p>\n\u003cp>Fraser’s return will likely be controversial for some, Baer noted.\u003c/p>\n\u003cp>“I think it’s definitely going to be a point of contention in the discourse. I think it’s a practice [the use of prosthetics or so-called fat suits] that has been relatively commonplace among major Hollywood actors for a long time and that’s been increasingly criticized for being fat phobic and offensive,” Baer said.\u003c/p>\n\u003cp>Indeed, critics have turned to social media to say that the movie’s premise is inherently dehumanizing. There’s a question of whether it should have been made at all.\u003c/p>\n\u003cp>https://twitter.com/PiaGlenn/status/1566654645795037184\u003c/p>\n\u003cp>Aubrey Gordon, an author and co-host of the Maintenance Phase, a podcast focused on debunking health fads, \u003ca href=\"https://twitter.com/yrfatfriend/status/1566883797014302720\" target=\"_blank\" rel=\"noopener noreferrer\">took to Twitter\u003c/a> to call out the movie’s aim.\u003c/p>\n\u003cp>“It’s so telling that so many only see fat people as ‘humanized’ in media that shows us doing exactly what they expect: living short, small lives; ‘eating ourselves to death’; feeling sad & regretful. All reminders of how tragic it is to be fat, and how superior it is to be thin,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13917695']This kind of media just “reinforces viewers’ anti-fat bias,” she wrote.\u003c/p>\n\u003cp>Pia Glenn, a Broadway actress, also criticized the movie, \u003ca href=\"https://twitter.com/PiaGlenn/status/1566654645795037184\" target=\"_blank\" rel=\"noopener noreferrer\">lamenting the fact \u003c/a>that this film is Fraser’s comeback.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mr. Fraser’s ‘comeback’ and personal journey as an actor and human are significant and I hate that I feel so negatively about the project that brought them about. I know I won’t see it, so I’ve been reading reviews,” she wrote on Twitter. “References to rolls and hanging flesh and Jabba the Hut (!) NO.”\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=Why+Brendan+Fraser%27s+Hollywood+comeback+story+is+both+warming+hearts+and+raising+ire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brendan Fraser is officially on a comeback.\u003c/p>\n\u003cp>\u003cem>The Whale\u003c/em>, a new Darren Aronofsky film in which Fraser stars, premiered at the Venice Film Festival Sunday night to a \u003ca href=\"https://www.npr.org/2022/09/05/1121100965/brendan-fraser-standing-ovation-the-whale\" target=\"_blank\" rel=\"noopener noreferrer\">six-minute standing ovation.\u003c/a>\u003c/p>\n\u003cp>Actors and longtime fans alike took to social media to share their own happiness at the recognition Fraser received with this latest role. As the applause continued for Fraser on Sunday, the actor and some audience members appeared to get choked up.\u003c/p>\n\u003cp>This comes years after Fraser was at the height of his career. So, why has this moment has brought so many people joy at the same time that others lament the fact that \u003cem>this film\u003c/em> is Fraser’s return to stardom?\u003c/p>\n\u003cp>Fraser was once a major star with hits such as \u003cem>George of the Jungle \u003c/em>and \u003cem>The Mummy \u003c/em>franchise. But after a sustained run as one of Hollywood’s leading men, Fraser receded to the sidelines of TV and film in recent years.\u003c/p>\n\u003cfigure id=\"attachment_13918750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-806483-ebf98b3b6a4331742265cb393e022c06c07ac36e-800x600.jpg\" alt=\"A dashing young man wearing a white shirt, sleeves rolled up, stands poised for action, two ancient-looking weapons held out in front of him.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in ‘The Mummy Returns.’ \u003ccite>(Keith Hamshere/Universal Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Fraser who was so “universally loved” by the public for so long receive praise resonated with fans, according to film and media historian Chris Yogerst.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In it, Fraser discussed years of suffering from injuries (sustained from performing stunts during filming of \u003cem>The Mummy\u003c/em> franchise), subsequent surgeries, personal loss and a divorce. Most startling were details Fraser shared of being allegedly groped by Philip Berk, a former president of the Hollywood Foreign Press Association. Berk told \u003cem>GQ \u003c/em>that Fraser’s account was “a total fabrication.”\u003c/p>\n\u003cp>Fraser in the \u003cem>GQ \u003c/em>article openly questioned whether he was actually blacklisted from Hollywood because he came forward about his experience.\u003c/p>\n\u003cp>“[\u003cem>The Whale\u003c/em>] is offering us an opportunity to kind of recognize the virtue and the kind of fundamental decency of Brendan Fraser, who has been really wronged by the industry and has long suffered,” Baer said.\u003c/p>\n\u003ch3>A comeback with controversy\u003c/h3>\n\u003cp>\u003cem>The Whale\u003c/em> is about a reclusive English teacher (Fraser) who weighs 600 pounds, and as he struggles with his health, tries to reconnect with his estranged daughter. A combination of prosthetics and CGI help Fraser as he portrays this character.\u003c/p>\n\u003cp>Fraser’s return will likely be controversial for some, Baer noted.\u003c/p>\n\u003cp>“I think it’s definitely going to be a point of contention in the discourse. I think it’s a practice [the use of prosthetics or so-called fat suits] that has been relatively commonplace among major Hollywood actors for a long time and that’s been increasingly criticized for being fat phobic and offensive,” Baer said.\u003c/p>\n\u003cp>Indeed, critics have turned to social media to say that the movie’s premise is inherently dehumanizing. There’s a question of whether it should have been made at all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Aubrey Gordon, an author and co-host of the Maintenance Phase, a podcast focused on debunking health fads, \u003ca href=\"https://twitter.com/yrfatfriend/status/1566883797014302720\" target=\"_blank\" rel=\"noopener noreferrer\">took to Twitter\u003c/a> to call out the movie’s aim.\u003c/p>\n\u003cp>“It’s so telling that so many only see fat people as ‘humanized’ in media that shows us doing exactly what they expect: living short, small lives; ‘eating ourselves to death’; feeling sad & regretful. All reminders of how tragic it is to be fat, and how superior it is to be thin,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This kind of media just “reinforces viewers’ anti-fat bias,” she wrote.\u003c/p>\n\u003cp>Pia Glenn, a Broadway actress, also criticized the movie, \u003ca href=\"https://twitter.com/PiaGlenn/status/1566654645795037184\" target=\"_blank\" rel=\"noopener noreferrer\">lamenting the fact \u003c/a>that this film is Fraser’s comeback.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mr. Fraser’s ‘comeback’ and personal journey as an actor and human are significant and I hate that I feel so negatively about the project that brought them about. I know I won’t see it, so I’ve been reading reviews,” she wrote on Twitter. “References to rolls and hanging flesh and Jabba the Hut (!) NO.”\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=Why+Brendan+Fraser%27s+Hollywood+comeback+story+is+both+warming+hearts+and+raising+ire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "J.K. Rowling's New Book, About a Transphobe Who Faces Wrath Online, Raises Eyebrows",
"headTitle": "J.K. Rowling’s New Book, About a Transphobe Who Faces Wrath Online, Raises Eyebrows | KQED",
"content": "\u003cp>J.K. Rowling, who rose to fame as the author of the \u003cem>Harry Potter\u003c/em> series, is known for writing about magical subjects and fantasy worlds. But her latest book bears more than a passing resemblance to reality—and, critics say, not in a good way.\u003c/p>\n\u003cp>\u003cem>The Ink Black Heart\u003c/em> is the sixth installment of Rowling’s thriller series \u003cem>Cormoran Strike\u003c/em>, which she penned under the pseudonym Robert Galbraith. The 1,024-page tome started raising eyebrows as soon as it hit stores on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13881738']Observers noted that the plot appears to mirror Rowling’s own experience of taking heat and losing fans for \u003ca href=\"https://www.npr.org/2020/06/10/873472683/harry-potters-magic-fades-when-his-creator-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">expressing transphobic views\u003c/a> in recent years. Rowling has said publicly that the book was not based on her own life, even though some of the events that take place in the story did in fact happen to her as she was writing it.\u003c/p>\n\u003cp>“Although I have to say when it did happen to me, those who had already read the book in manuscript form were [like]—are you clairvoyant?” Rowling wrote \u003ca href=\"https://robert-galbraith.com/the-ink-black-heart-q-and-a/\" target=\"_blank\" rel=\"noopener noreferrer\">in a Q&A on Galbraith’s website\u003c/a>. “I wasn’t clairvoyant, I just—yeah, it was just one of those weird twists. Sometimes life imitates art more than one would like.”\u003c/p>\n\u003ch3>In the book, a popular artist gets harassed for her opinions\u003c/h3>\n\u003cp>The book centers the story of Edie Ledwell, a popular cartoonist who, according to the \u003ca href=\"https://www.mulhollandbooks.com/titles/robert-galbraith/the-ink-black-heart/9780316413237/\" target=\"_blank\" rel=\"noopener noreferrer\">official description\u003c/a>, is “persecuted by a mysterious online figure”—and ultimately found dead—after her cartoon was criticized for being racist, ableist and transphobic (at least partly over a bit involving “a hermaphrodite worm,” \u003ca href=\"https://www.rollingstone.com/culture/culture-news/j-k-rowlings-latest-book-ink-black-heart-transphobic-views-1234582911/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone reports\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The book takes a clear aim at ‘social justice warriors’ and suggests that Ledwell was a victim of a masterfully plotted, politically fueled hate campaign against her,” the magazine continues, adding that the character gets doxxed—with “photos of her home plastered on the Internet”—and faces threats of rape and death because of her opinions.\u003c/p>\n\u003ch3>Parts of the story seem to mirror Rowling’s experience\u003c/h3>\n\u003cp>Rowling has made her own opinions known, particularly in regards to the transgender community, \u003ca href=\"https://www.glamour.com/story/a-complete-breakdown-of-the-jk-rowling-transgender-comments-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">over the last several years\u003c/a>.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.npr.org/2019/12/20/790319846/why-author-j-k-rowling-is-facing-backlash-from-lgbtq-activists\" target=\"_blank\" rel=\"noopener noreferrer\">faced backlash\u003c/a> in 2019 for \u003ca href=\"https://twitter.com/jk_rowling/status/1207646162813100033?s=20&t=dZoBn60cZc0_6RRV5RFafQ\" target=\"_blank\" rel=\"noopener noreferrer\">publicly supporting\u003c/a> Maya Forstater, a researcher who had lost her job over transphobic tweets. The following year, Rowling posted several controversial tweets, including one opinion piece that mocked the term “people who menstruate” (“I’m sure there used to be a word for those people,” \u003ca href=\"https://twitter.com/jk_rowling/status/1269382518362509313?s=20&t=CQ7kK6JUiB-bxW4KGkx7wQ\">she tweeted\u003c/a>. “Wumben? Wimpund? Woomud?”), and \u003ca href=\"https://www.jkrowling.com/opinions/j-k-rowling-writes-about-her-reasons-for-speaking-out-on-sex-and-gender-issues/\" target=\"_blank\" rel=\"noopener noreferrer\">published a long statement\u003c/a> expressing her concerns with “the consequences of the current trans activism.”\u003c/p>\n\u003cp>https://twitter.com/jk_rowling/status/1269382518362509313?s=20&t=CQ7kK6JUiB-bxW4KGkx7wQ\u003c/p>\n\u003cp>Rowling said in November that she’s received death threats. She \u003ca href=\"https://www.forbes.com/sites/dawnstaceyennis/2021/11/22/jk-rowling-slams-activist-actors-who-doxxed-her-during-trans-rights-protest/?sh=3c4cf501409e\" target=\"_blank\" rel=\"noopener noreferrer\">also publicly accused three activists of doxxing her\u003c/a> when they posted photos of themselves holding pro-trans rights signs outside of her house in Scotland, “carefully positioning themselves to ensure that our address was visible,” she said.\u003c/p>\n\u003cp>The activists, who had been demonstrating in honor of International Transgender Day of Remembrance, later deleted the photo and deactivated their accounts because of the amount of transphobic backlash they had received online. Scottish police later investigated the so-called doxxing and determined no crimes had been committed (notably, Rowling’s home is a popular tourist attraction, \u003ca href=\"https://www.them.us/story/jk-rowling-doxxing-no-criminality-scotland-police\" target=\"_blank\" rel=\"noopener noreferrer\">as \u003cem>Them\u003c/em> points out\u003c/a>).\u003c/p>\n\u003ch3>Critics say the book is self-serving and “beyond parody”\u003c/h3>\n\u003cp>News of Rowling’s book release has taken Twitter by storm, even prompting dueling hashtags—\u003ca href=\"https://twitter.com/search?q=%23IStandWithJKRowling&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#IStandWithJKRowling\u003c/a> and \u003ca href=\"https://twitter.com/search?q=%23ICantStandJKRowling&src=typeahead_click&f=top\" target=\"_blank\" rel=\"noopener noreferrer\">#ICantStandJKRowling\u003c/a>.\u003c/p>\n\u003cp>Critics have decried the book as “hilariously self-persecuting” and “\u003ca href=\"https://twitter.com/zachsilberberg/status/1564660824232415232?s=20&t=qqmjy6ywoMCXAmi3aFiI3A\" target=\"_blank\" rel=\"noopener noreferrer\">beyond parody\u003c/a>,” with some \u003ca href=\"https://twitter.com/AidanCTweets/status/1564879803999813638?s=20&t=qqmjy6ywoMCXAmi3aFiI3A\" target=\"_blank\" rel=\"noopener noreferrer\">drawing attention to the real-world problems\u003c/a> facing transgender people, deriding its length (“500 pages longer than \u003cem>Dune\u003c/em>, 300 pages longer than \u003cem>Infinite Jest\u003c/em> and 100 pages longer than the Bible,” \u003ca href=\"https://twitter.com/cheer_wine/status/1564662338044588035?s=20&t=qqmjy6ywoMCXAmi3aFiI3A\">wrote one\u003c/a>) and calling for people to boycott her work.\u003c/p>\n\u003cp>https://twitter.com/lindzamer/status/1564671268569456652\u003c/p>\n\u003cp>Lark Malakai Grey, co-host of the queer \u003cem>Harry Potter\u003c/em> podcast \u003ca href=\"http://hashtagruthless.com\" target=\"_blank\" rel=\"noopener noreferrer\">“The Gayly Prophet”\u003c/a> told NPR over email that he finds the situation “deeply embarrassing” for Rowling.\u003c/p>\n\u003cp>“She has published a 1,000-page self-insert fanfiction where she’s the victim—it’s the kind of behavior that you’d expect from a petulant teenager, not a grown adult with immense wealth and power,” he added. “I have no idea what she expected, but seeing the internet fill with jokes about the book has been an absolute joy after all the harm she has caused my community over the past several years.”\u003c/p>\n\u003ch3>Rowling’s transphobic comments have lost her many fans\u003c/h3>\n\u003cp>Rowling’s stance has alienated many in her fanbase—which includes a large number of LGBTQ people—as well as a slew of prominent \u003cem>Harry Potter\u003c/em> cast members: Actors Daniel Radcliffe, Emma Watson and Rupert Grint \u003ca href=\"https://www.scmp.com/magazines/style/celebrity/article/3160435/inside-jk-rowlings-relationship-harry-potter-cast-her\" target=\"_blank\" rel=\"noopener noreferrer\">are among those\u003c/a> who have condemned her comments and expressed their support for the trans community.\u003c/p>\n\u003cp>[aside postid='arts_13858877']Rowling was noticeably \u003ca href=\"https://www.kqed.org/arts/13906284/the-cast-of-the-harry-potter-films-is-reuniting-but-without-j-k-rowling\" target=\"_blank\" rel=\"noopener noreferrer\">absent from the \u003cem>Harry Potter \u003c/em>20th anniversary special\u003c/a>, a de facto reunion for much of the franchise’s cast and crew that aired on New Year’s Day 2022. She told Graham Norton’s \u003ca href=\"https://www.youtube.com/watch?v=HdKPOwCR_sg\">\u003cem>Radio Show\u003c/em> podcast\u003c/a> on Saturday that she was invited to participate in the special but chose not to come because she saw it as “about the films more than the books.”\u003c/p>\n\u003cp>In that same interview, she stressed that she had written her new book before the events of the past year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I said to my husband, ‘I think everyone is going to see this as a response to what happened to me,’ but it genuinely wasn’t,” she said. “The first draft of the book was finished at the point certain things happened.”\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=J.K.+Rowling%27s+new+book%2C+about+a+transphobe+who+faces+wrath+online%2C+raises+eyebrows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>J.K. Rowling, who rose to fame as the author of the \u003cem>Harry Potter\u003c/em> series, is known for writing about magical subjects and fantasy worlds. But her latest book bears more than a passing resemblance to reality—and, critics say, not in a good way.\u003c/p>\n\u003cp>\u003cem>The Ink Black Heart\u003c/em> is the sixth installment of Rowling’s thriller series \u003cem>Cormoran Strike\u003c/em>, which she penned under the pseudonym Robert Galbraith. The 1,024-page tome started raising eyebrows as soon as it hit stores on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Observers noted that the plot appears to mirror Rowling’s own experience of taking heat and losing fans for \u003ca href=\"https://www.npr.org/2020/06/10/873472683/harry-potters-magic-fades-when-his-creator-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">expressing transphobic views\u003c/a> in recent years. Rowling has said publicly that the book was not based on her own life, even though some of the events that take place in the story did in fact happen to her as she was writing it.\u003c/p>\n\u003cp>“Although I have to say when it did happen to me, those who had already read the book in manuscript form were [like]—are you clairvoyant?” Rowling wrote \u003ca href=\"https://robert-galbraith.com/the-ink-black-heart-q-and-a/\" target=\"_blank\" rel=\"noopener noreferrer\">in a Q&A on Galbraith’s website\u003c/a>. “I wasn’t clairvoyant, I just—yeah, it was just one of those weird twists. Sometimes life imitates art more than one would like.”\u003c/p>\n\u003ch3>In the book, a popular artist gets harassed for her opinions\u003c/h3>\n\u003cp>The book centers the story of Edie Ledwell, a popular cartoonist who, according to the \u003ca href=\"https://www.mulhollandbooks.com/titles/robert-galbraith/the-ink-black-heart/9780316413237/\" target=\"_blank\" rel=\"noopener noreferrer\">official description\u003c/a>, is “persecuted by a mysterious online figure”—and ultimately found dead—after her cartoon was criticized for being racist, ableist and transphobic (at least partly over a bit involving “a hermaphrodite worm,” \u003ca href=\"https://www.rollingstone.com/culture/culture-news/j-k-rowlings-latest-book-ink-black-heart-transphobic-views-1234582911/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone reports\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The book takes a clear aim at ‘social justice warriors’ and suggests that Ledwell was a victim of a masterfully plotted, politically fueled hate campaign against her,” the magazine continues, adding that the character gets doxxed—with “photos of her home plastered on the Internet”—and faces threats of rape and death because of her opinions.\u003c/p>\n\u003ch3>Parts of the story seem to mirror Rowling’s experience\u003c/h3>\n\u003cp>Rowling has made her own opinions known, particularly in regards to the transgender community, \u003ca href=\"https://www.glamour.com/story/a-complete-breakdown-of-the-jk-rowling-transgender-comments-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">over the last several years\u003c/a>.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.npr.org/2019/12/20/790319846/why-author-j-k-rowling-is-facing-backlash-from-lgbtq-activists\" target=\"_blank\" rel=\"noopener noreferrer\">faced backlash\u003c/a> in 2019 for \u003ca href=\"https://twitter.com/jk_rowling/status/1207646162813100033?s=20&t=dZoBn60cZc0_6RRV5RFafQ\" target=\"_blank\" rel=\"noopener noreferrer\">publicly supporting\u003c/a> Maya Forstater, a researcher who had lost her job over transphobic tweets. The following year, Rowling posted several controversial tweets, including one opinion piece that mocked the term “people who menstruate” (“I’m sure there used to be a word for those people,” \u003ca href=\"https://twitter.com/jk_rowling/status/1269382518362509313?s=20&t=CQ7kK6JUiB-bxW4KGkx7wQ\">she tweeted\u003c/a>. “Wumben? Wimpund? Woomud?”), and \u003ca href=\"https://www.jkrowling.com/opinions/j-k-rowling-writes-about-her-reasons-for-speaking-out-on-sex-and-gender-issues/\" target=\"_blank\" rel=\"noopener noreferrer\">published a long statement\u003c/a> expressing her concerns with “the consequences of the current trans activism.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rowling said in November that she’s received death threats. She \u003ca href=\"https://www.forbes.com/sites/dawnstaceyennis/2021/11/22/jk-rowling-slams-activist-actors-who-doxxed-her-during-trans-rights-protest/?sh=3c4cf501409e\" target=\"_blank\" rel=\"noopener noreferrer\">also publicly accused three activists of doxxing her\u003c/a> when they posted photos of themselves holding pro-trans rights signs outside of her house in Scotland, “carefully positioning themselves to ensure that our address was visible,” she said.\u003c/p>\n\u003cp>The activists, who had been demonstrating in honor of International Transgender Day of Remembrance, later deleted the photo and deactivated their accounts because of the amount of transphobic backlash they had received online. Scottish police later investigated the so-called doxxing and determined no crimes had been committed (notably, Rowling’s home is a popular tourist attraction, \u003ca href=\"https://www.them.us/story/jk-rowling-doxxing-no-criminality-scotland-police\" target=\"_blank\" rel=\"noopener noreferrer\">as \u003cem>Them\u003c/em> points out\u003c/a>).\u003c/p>\n\u003ch3>Critics say the book is self-serving and “beyond parody”\u003c/h3>\n\u003cp>News of Rowling’s book release has taken Twitter by storm, even prompting dueling hashtags—\u003ca href=\"https://twitter.com/search?q=%23IStandWithJKRowling&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#IStandWithJKRowling\u003c/a> and \u003ca href=\"https://twitter.com/search?q=%23ICantStandJKRowling&src=typeahead_click&f=top\" target=\"_blank\" rel=\"noopener noreferrer\">#ICantStandJKRowling\u003c/a>.\u003c/p>\n\u003cp>Critics have decried the book as “hilariously self-persecuting” and “\u003ca href=\"https://twitter.com/zachsilberberg/status/1564660824232415232?s=20&t=qqmjy6ywoMCXAmi3aFiI3A\" target=\"_blank\" rel=\"noopener noreferrer\">beyond parody\u003c/a>,” with some \u003ca href=\"https://twitter.com/AidanCTweets/status/1564879803999813638?s=20&t=qqmjy6ywoMCXAmi3aFiI3A\" target=\"_blank\" rel=\"noopener noreferrer\">drawing attention to the real-world problems\u003c/a> facing transgender people, deriding its length (“500 pages longer than \u003cem>Dune\u003c/em>, 300 pages longer than \u003cem>Infinite Jest\u003c/em> and 100 pages longer than the Bible,” \u003ca href=\"https://twitter.com/cheer_wine/status/1564662338044588035?s=20&t=qqmjy6ywoMCXAmi3aFiI3A\">wrote one\u003c/a>) and calling for people to boycott her work.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rowling was noticeably \u003ca href=\"https://www.kqed.org/arts/13906284/the-cast-of-the-harry-potter-films-is-reuniting-but-without-j-k-rowling\" target=\"_blank\" rel=\"noopener noreferrer\">absent from the \u003cem>Harry Potter \u003c/em>20th anniversary special\u003c/a>, a de facto reunion for much of the franchise’s cast and crew that aired on New Year’s Day 2022. She told Graham Norton’s \u003ca href=\"https://www.youtube.com/watch?v=HdKPOwCR_sg\">\u003cem>Radio Show\u003c/em> podcast\u003c/a> on Saturday that she was invited to participate in the special but chose not to come because she saw it as “about the films more than the books.”\u003c/p>\n\u003cp>In that same interview, she stressed that she had written her new book before the events of the past year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I said to my husband, ‘I think everyone is going to see this as a response to what happened to me,’ but it genuinely wasn’t,” she said. “The first draft of the book was finished at the point certain things happened.”\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=J.K.+Rowling%27s+new+book%2C+about+a+transphobe+who+faces+wrath+online%2C+raises+eyebrows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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