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"title": "The U.S. National Women's Soccer Team Wins $24 Million in Equal Pay Settlement",
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"content": "\u003cp>The U.S. Women’s National Soccer team has reached a proposed settlement in its class action equal pay lawsuit against the U.S. Soccer Federation.\u003c/p>\n\u003cp>“We are pleased to announce that, contingent on the negotiation of a new collective bargaining agreement, we will have resolved our longstanding dispute over equal pay and proudly stand together in a shared commitment to advancing equality in soccer,” both parties said in a \u003ca href=\"https://www.ussoccer.com/stories/2022/02/us-soccer-uswnt-players-reach-agreement-to-resolve-longstanding-equal-pay-dispute\" target=\"_blank\" rel=\"noopener noreferrer\">joint statement\u003c/a> on Tuesday.\u003c/p>\n\u003cp>[aside postid='news_11840355']U.S. Soccer has agreed to pay a lump sum of $22 million in back pay to the players, \u003ca href=\"https://www.espn.com/soccer/united-states-usaw/story/4599482/uswntus-soccer-federation-settle-equal-pay-lawsuit-for-%2424-million\" target=\"_blank\" rel=\"noopener noreferrer\">ESPN reports\u003c/a>, which will be distributed in a manner proposed by players and approved by the court. The federation will also put $2 million into a fund for USWNT players’ post-career goals and charitable efforts, with each player able to apply for up to $50,000.\u003c/p>\n\u003cp>The federation has also promised to provide an equal rate of pay between the men’s and women’s national senior teams in all friendlies and tournaments, including the World Cup.\u003c/p>\n\u003cp>But “getting to this day has not been easy,” as the parties noted in their statement.\u003c/p>\n\u003ch3>How the lawsuit started\u003c/h3>\n\u003cp>The lengthy legal dispute dates back to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/03/31/472522790/members-of-u-s-women-s-national-team-file-federal-equal-pay-complaint\" target=\"_blank\" rel=\"noopener noreferrer\">federal equal pay complaint\u003c/a> filed by five high-profile members of the women’s national team in 2016. They said each member of the women’s team was paid thousands of dollars less than the men at nearly every level of competition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Twenty-eight players then sued U.S. Soccer in March 2019, alleging that female players were consistently paid less than their male counterparts despite superior performance on the field.\u003c/p>\n\u003cp>The lawsuit came months after the U.S. men’s soccer team failed to qualify for the World Cup in 2018—and just before the women’s team went on to win its second consecutive tournament in 2019, to the crowd’s \u003ca href=\"https://www.npr.org/2019/07/07/739305526/four-peat-u-s-womens-soccer-team-wins-world-cup-title\" target=\"_blank\" rel=\"noopener noreferrer\">celebratory chants\u003c/a> of “Equal pay!”\u003c/p>\n\u003cp>[aside postid='pop_110334']In May 2020, a federal judge \u003ca href=\"https://www.npr.org/2020/05/02/849492863/federal-judge-dismisses-u-s-womens-soccer-team-s-equal-pay-claim\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s claim\u003c/a> that they were paid less for the same work—along with other key parts of the suit, pointing to differences in the structure of the men’s and women’s contracts (which they had agreed to in collective bargaining). Other aspects of the suit related to working conditions were settled out of court in December.\u003c/p>\n\u003cp>Several of the players filed an appeal on the equal pay claims in July 2021, saying the judge had not looked at rates of pay and the fact that \u003ca href=\"https://www.espn.com/soccer/united-states-usaw/story/4071258/uswnt-lawsuit-versus-us-soccer-explained-defining-the-pay-gapswhats-at-stake-for-both-sides\" target=\"_blank\" rel=\"noopener noreferrer\">women had to win more often\u003c/a> than men in order to receive bonuses.\u003c/p>\n\u003ch3>It’s not quite final yet\u003c/h3>\n\u003cp>The settlement is contingent on the ratification of a new collective bargaining agreement by the USWNT Players Association. The players and the federation are operating under a “memorandum of understanding” that runs through the end of March, \u003ca href=\"https://theathletic.com/news/uswnt-players-reach-settlement-with-us-soccer-for-total-of-24-million-in-pay-discrimination-lawsuit/BXmnGmymxK4b/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Athletic \u003c/em>\u003c/a>\u003ca href=\"https://theathletic.com/news/uswnt-players-reach-settlement-with-us-soccer-for-total-of-24-million-in-pay-discrimination-lawsuit/BXmnGmymxK4b/\">reports\u003c/a>. The district court will be able to schedule final approval of the settlement once the agreement has been ratified.\u003c/p>\n\u003cp>“After the parties finalize the settlement agreement, they plan to advise the district court of the settlement, and then seek a limited remand from this Court under Federal Rule of the Appellate Procedure 12.1 so that the district court can consider the settlement,” the parties said in a joint motion filed in the U.S. Court of Appeals for the Ninth Circuit on Tuesday.\u003c/p>\n\u003cp>ESPN reports that settlement talks accelerated in recent weeks, ahead of a scheduled March 7 hearing (which the parties have asked the court to postpone while they finalize the settlement agreement).\u003c/p>\n\u003ch3>The players foresee a lasting impact\u003c/h3>\n\u003cp>The agreement falls short of the more than $66 million that the players had sought in back pay but still amounts to a significant victory for the team.\u003c/p>\n\u003cp>[aside postid='news_11759612']“We feel like this is a huge win—obviously contingent upon the ratification of the CBA—but it will have equal pay on everything moving forward,” Megan Rapinoe, captain of the Seattle-based OL Reign and the women’s national team, told \u003cem>The Athletic\u003c/em>. “It’s honestly kind of surreal. I feel like I need to take a step back. We’ve all been in the trenches of it for so long. I think I honestly don’t even understand how monumental this is.”\u003c/p>\n\u003cp>In their statement, the team and federation honored the legacy of USWNT leaders who helped make this moment possible as well as those who will follow.\u003c/p>\n\u003cp>They said they look forward to continuing working together to “grow women’s soccer and advance opportunities for young girls and women in the United States and across the globe.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A version of this story first appeared in \u003c/em>\u003ca href=\"https://www.npr.org/live-updates/russia-ukraine-nord-stream-pipeline#the-u-s-national-womens-soccer-team-wins-24-million-in-equal-pay-settlement\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>the \u003c/em>Morning Edition\u003cem> live blog\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+U.S.+national+women%27s+soccer+team+wins+%2424+million+in+equal+pay+settlement&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>Twenty-eight players then sued U.S. Soccer in March 2019, alleging that female players were consistently paid less than their male counterparts despite superior performance on the field.\u003c/p>\n\u003cp>The lawsuit came months after the U.S. men’s soccer team failed to qualify for the World Cup in 2018—and just before the women’s team went on to win its second consecutive tournament in 2019, to the crowd’s \u003ca href=\"https://www.npr.org/2019/07/07/739305526/four-peat-u-s-womens-soccer-team-wins-world-cup-title\" target=\"_blank\" rel=\"noopener noreferrer\">celebratory chants\u003c/a> of “Equal pay!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In May 2020, a federal judge \u003ca href=\"https://www.npr.org/2020/05/02/849492863/federal-judge-dismisses-u-s-womens-soccer-team-s-equal-pay-claim\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s claim\u003c/a> that they were paid less for the same work—along with other key parts of the suit, pointing to differences in the structure of the men’s and women’s contracts (which they had agreed to in collective bargaining). Other aspects of the suit related to working conditions were settled out of court in December.\u003c/p>\n\u003cp>Several of the players filed an appeal on the equal pay claims in July 2021, saying the judge had not looked at rates of pay and the fact that \u003ca href=\"https://www.espn.com/soccer/united-states-usaw/story/4071258/uswnt-lawsuit-versus-us-soccer-explained-defining-the-pay-gapswhats-at-stake-for-both-sides\" target=\"_blank\" rel=\"noopener noreferrer\">women had to win more often\u003c/a> than men in order to receive bonuses.\u003c/p>\n\u003ch3>It’s not quite final yet\u003c/h3>\n\u003cp>The settlement is contingent on the ratification of a new collective bargaining agreement by the USWNT Players Association. The players and the federation are operating under a “memorandum of understanding” that runs through the end of March, \u003ca href=\"https://theathletic.com/news/uswnt-players-reach-settlement-with-us-soccer-for-total-of-24-million-in-pay-discrimination-lawsuit/BXmnGmymxK4b/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Athletic \u003c/em>\u003c/a>\u003ca href=\"https://theathletic.com/news/uswnt-players-reach-settlement-with-us-soccer-for-total-of-24-million-in-pay-discrimination-lawsuit/BXmnGmymxK4b/\">reports\u003c/a>. The district court will be able to schedule final approval of the settlement once the agreement has been ratified.\u003c/p>\n\u003cp>“After the parties finalize the settlement agreement, they plan to advise the district court of the settlement, and then seek a limited remand from this Court under Federal Rule of the Appellate Procedure 12.1 so that the district court can consider the settlement,” the parties said in a joint motion filed in the U.S. Court of Appeals for the Ninth Circuit on Tuesday.\u003c/p>\n\u003cp>ESPN reports that settlement talks accelerated in recent weeks, ahead of a scheduled March 7 hearing (which the parties have asked the court to postpone while they finalize the settlement agreement).\u003c/p>\n\u003ch3>The players foresee a lasting impact\u003c/h3>\n\u003cp>The agreement falls short of the more than $66 million that the players had sought in back pay but still amounts to a significant victory for the team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We feel like this is a huge win—obviously contingent upon the ratification of the CBA—but it will have equal pay on everything moving forward,” Megan Rapinoe, captain of the Seattle-based OL Reign and the women’s national team, told \u003cem>The Athletic\u003c/em>. “It’s honestly kind of surreal. I feel like I need to take a step back. We’ve all been in the trenches of it for so long. I think I honestly don’t even understand how monumental this is.”\u003c/p>\n\u003cp>In their statement, the team and federation honored the legacy of USWNT leaders who helped make this moment possible as well as those who will follow.\u003c/p>\n\u003cp>They said they look forward to continuing working together to “grow women’s soccer and advance opportunities for young girls and women in the United States and across the globe.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A version of this story first appeared in \u003c/em>\u003ca href=\"https://www.npr.org/live-updates/russia-ukraine-nord-stream-pipeline#the-u-s-national-womens-soccer-team-wins-24-million-in-equal-pay-settlement\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>the \u003c/em>Morning Edition\u003cem> live blog\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+U.S.+national+women%27s+soccer+team+wins+%2424+million+in+equal+pay+settlement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix's 'jeen-yuhs: A Kanye Trilogy' is (Mostly) Genius",
"headTitle": "Netflix’s ‘jeen-yuhs: A Kanye Trilogy’ is (Mostly) Genius | KQED",
"content": "\u003cp>Netflix’s new docuseries, \u003cem>jeen-yuhs: A Kanye Trilogy\u003c/em>, is truly genius… for the first two-thirds, at least.\u003c/p>\n\u003cp>That’s not a bad average for an ambitious project: Assembled from footage recorded by old friends who have been trailing the mercurial rap star with a camera for over 20 years, \u003cem>jeen-yuhs\u003c/em> spans more than four hours divided into chunks about 90 minutes each.\u003c/p>\n\u003cp>[aside postid='pop_103462']The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X3d5rT7FGLE\u003c/p>\n\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>[aside postid='arts_13908594']Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uvb-1wjAtk4\u003c/p>\n\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>[aside postid='pop_49104']Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And is he okay now?\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=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\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/X3d5rT7FGLE'\n title='//www.youtube.com/embed/X3d5rT7FGLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\u003c/em>.\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/uvb-1wjAtk4'\n title='//www.youtube.com/embed/uvb-1wjAtk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And is he okay now?\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=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the Thriller 'Severance,' Adam Scott's Humanity Hangs in the (Work-Life) Balance",
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"content": "\u003cp>Make no mistake: That lengthy tracking shot near the top of the first episode of \u003cem>Severance\u003c/em>, Apple TV+’s darkly funny, hugely imaginative corporate-thriller series, is all about swagger.\u003c/p>\n\u003cp>The camera follows Adam Scott’s Mark through the spare, white, featureless fluorescent halls of Lumon Industries as he walks to his sad little cubicle. And it’s a long, circuitous walk, because the floor on which he works appears to contain very few actual workspaces, and instead seems composed almost entirely of those endless, labyrinthine hallways.\u003c/p>\n\u003cp>[aside postid='arts_13908773']The aforementioned swagger isn’t possessed by Mark himself, who seems a dutifully nice, unassuming sort. No, that slow-burn start is all about \u003cem>Severance \u003c/em>(and creator Dan Erickson, and director Ben Stiller) confidently calling its shot, saying: We’re going somewhere, somewhere specific and stylized. We may take our time getting there, but if you hang with us, it’ll be worth it.\u003c/p>\n\u003cp>For some viewers, the line between swagger and self-indulgence is a thin one, and the unhurried nature of the show’s early going will prove a deal-breaker. For me, the world of this series is so fully imagined, so refreshingly singular—plus it just keeps on getting \u003cem>weirder—\u003c/em>that I was only too happy to strap in, and was grateful I did.\u003c/p>\n\u003cp>Mark is one of a four-member team of Lumon employees who make up the Macrodata Refinement division. There’s also Irving (John Turturro) a pure company man devoted to Lumon’s unusual, quasi-religious corporate culture; Dylan (Zach Cherry), a sardonic desk jockey only interested in earning company perks for meeting his numbers, and new arrival Helly (Britt Lower), who puts the “hostile” in hostile work environment. (She whips an intercom at Mark’s forehead a few minutes into their first meeting.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can’t blame her; like all members of Mark’s team, Helly has had her brain surgically altered so that, for security reasons, she retains no memories of the work she does at Lumon whenever she’s at home—and retains no memories of her life outside of Lumon while she’s at work. The key difference: Mark and his team of long-timers now accept this completely. To Helly, who doesn’t recall agreeing to the process, it’s all brand new, and terrifying; she wants out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xEQP4VVuyrY\u003c/p>\n\u003ch3>Putting the \u003cem>human \u003c/em>in Human Resources\u003c/h3>\n\u003cp>That’s the high-concept premise: The Mark, Irving, Dylan and Helly who sit at those clunky console computers performing an inscrutable task with numbers all day long aren’t really their “true” selves—they’ve been stripped of the manifold experiences that shape a life, and define a personality. These so-called “innies” do possess their own thoughts and feelings, however, and they’re desperately curious about their selves outside the office. Any contact or communication between “innies” and “outies” is expressly forbidden, however.\u003c/p>\n\u003cp>[aside postid='arts_13909218']When we get to meet Mark’s “outie” self, we learn he’s a deeply depressed man who eagerly agreed to the severance procedure after suffering a crushing loss; his grief has exhausted him, and he just wants to stop feeling it, even if just for eight hours a day. One of the first episode’s finest, surest touches occurs as we follow “outie” Mark into a Lumon elevator, and observe the precise moment of his transition into “innie” Mark, during the descent to his sub-basement office space. There is a soft buzzing sound, the screen’s aspect ratio widens, and the expression on his face subtly but chillingly alters from low-level despair into … a perfect, blissful absence.\u003c/p>\n\u003cp>Now: This premise, and its execution, could easily go wrong in any of a hundred different ways. If all of this detailed, finely executed imaginative work were being done in service of broad corporate satire—the kind that simply sets about scoring lazy pot-shots at companies’ ability to exploit and dehumanize their employees—it would grow rapidly one-note, and boring.\u003c/p>\n\u003cp>Instead, \u003cem>Severance \u003c/em>expertly channels all of the energy it would otherwise spend making tired jokes about corporate culture into slowly but steadily building out its highly specific world. And the world of this \u003cem>particular \u003c/em>corporation is fascinating—its puzzling business culture; its bizarre systems of employee performance reviews, rewards and punishments; its shadowy history and lore; and, most intriguingly, its mysteriously compelling founder. (Who seems like what you’d end up with if you mixed Joseph Smith and L. Ron Hubbard with Elon Musk.)\u003c/p>\n\u003cp>The whole affair requires a sustained deftness of tone that the series pulls off effortlessly, steadily ratcheting up the stakes and pacing while supplying its characters room to breathe, grow and complicate.\u003c/p>\n\u003cp>In “outie” Mark’s home life, his close relationship with his sister (a wryly funny and deeply empathetic Jen Tullock) provides him much-needed comfort, while her self-help author husband (the great Michael Chernus, who’s hilarious here) causes him only exasperated frustration—and supplies the series with its best jokes.\u003c/p>\n\u003cp>In “innie” Mark’s office life, his intense, ironically named boss Harmony (Patricia Arquette, going full ham and loving it) and aggressively affable office manager Milchick (Tramell Tillman) get to add layers to their performances and make choices that legitimately surprise us.\u003c/p>\n\u003cp>[aside postid='arts_13908728']And while all of this is going on, \u003cem>Severance \u003c/em>manages to be \u003cem>about \u003c/em>something, something that’s fascinating to grapple with, and not a little unsettling—the notion of who we are at our core, and precisely how much of our self-perception is shaped by the exterior forces constantly bombarding us. Is Mark’s “innie” truly a whole person, if he exists only to work? Can anything like a conscience arise in the absence of true consciousness?\u003c/p>\n\u003cp>\u003cem>Severance \u003c/em>raises these questions and many more and—intriguingly—isn’t particularly interested in serving up too-tidy answers.\u003c/p>\n\u003cp>I loved watching this show, but I do feel obliged to issue this caveat: \u003cem>Severance \u003c/em>has a nine-episode season, and has not, at this writing, been picked up for another. It ends on a perfectly orchestrated, nerve-wracking cliffhanger that finds every member of the cast making irrevocable, harrowing decisions. Big questions looming over the season do get answered, but in the process, even bigger ones get proposed, just as the final credits come up.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If that’s something you feel your system can take, then \u003cem>Severance’s \u003c/em>thrilling conclusion will satisfy you—even (especially?) if you find yourself yelling at the screen.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=In+the+thriller+%27Severance%2C%27+Adam+Scott%27s+humanity+hangs+in+the+%28work-life%29+balance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Make no mistake: That lengthy tracking shot near the top of the first episode of \u003cem>Severance\u003c/em>, Apple TV+’s darkly funny, hugely imaginative corporate-thriller series, is all about swagger.\u003c/p>\n\u003cp>The camera follows Adam Scott’s Mark through the spare, white, featureless fluorescent halls of Lumon Industries as he walks to his sad little cubicle. And it’s a long, circuitous walk, because the floor on which he works appears to contain very few actual workspaces, and instead seems composed almost entirely of those endless, labyrinthine hallways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The aforementioned swagger isn’t possessed by Mark himself, who seems a dutifully nice, unassuming sort. No, that slow-burn start is all about \u003cem>Severance \u003c/em>(and creator Dan Erickson, and director Ben Stiller) confidently calling its shot, saying: We’re going somewhere, somewhere specific and stylized. We may take our time getting there, but if you hang with us, it’ll be worth it.\u003c/p>\n\u003cp>For some viewers, the line between swagger and self-indulgence is a thin one, and the unhurried nature of the show’s early going will prove a deal-breaker. For me, the world of this series is so fully imagined, so refreshingly singular—plus it just keeps on getting \u003cem>weirder—\u003c/em>that I was only too happy to strap in, and was grateful I did.\u003c/p>\n\u003cp>Mark is one of a four-member team of Lumon employees who make up the Macrodata Refinement division. There’s also Irving (John Turturro) a pure company man devoted to Lumon’s unusual, quasi-religious corporate culture; Dylan (Zach Cherry), a sardonic desk jockey only interested in earning company perks for meeting his numbers, and new arrival Helly (Britt Lower), who puts the “hostile” in hostile work environment. (She whips an intercom at Mark’s forehead a few minutes into their first meeting.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can’t blame her; like all members of Mark’s team, Helly has had her brain surgically altered so that, for security reasons, she retains no memories of the work she does at Lumon whenever she’s at home—and retains no memories of her life outside of Lumon while she’s at work. The key difference: Mark and his team of long-timers now accept this completely. To Helly, who doesn’t recall agreeing to the process, it’s all brand new, and terrifying; she wants out.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xEQP4VVuyrY'\n title='//www.youtube.com/embed/xEQP4VVuyrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Putting the \u003cem>human \u003c/em>in Human Resources\u003c/h3>\n\u003cp>That’s the high-concept premise: The Mark, Irving, Dylan and Helly who sit at those clunky console computers performing an inscrutable task with numbers all day long aren’t really their “true” selves—they’ve been stripped of the manifold experiences that shape a life, and define a personality. These so-called “innies” do possess their own thoughts and feelings, however, and they’re desperately curious about their selves outside the office. Any contact or communication between “innies” and “outies” is expressly forbidden, however.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When we get to meet Mark’s “outie” self, we learn he’s a deeply depressed man who eagerly agreed to the severance procedure after suffering a crushing loss; his grief has exhausted him, and he just wants to stop feeling it, even if just for eight hours a day. One of the first episode’s finest, surest touches occurs as we follow “outie” Mark into a Lumon elevator, and observe the precise moment of his transition into “innie” Mark, during the descent to his sub-basement office space. There is a soft buzzing sound, the screen’s aspect ratio widens, and the expression on his face subtly but chillingly alters from low-level despair into … a perfect, blissful absence.\u003c/p>\n\u003cp>Now: This premise, and its execution, could easily go wrong in any of a hundred different ways. If all of this detailed, finely executed imaginative work were being done in service of broad corporate satire—the kind that simply sets about scoring lazy pot-shots at companies’ ability to exploit and dehumanize their employees—it would grow rapidly one-note, and boring.\u003c/p>\n\u003cp>Instead, \u003cem>Severance \u003c/em>expertly channels all of the energy it would otherwise spend making tired jokes about corporate culture into slowly but steadily building out its highly specific world. And the world of this \u003cem>particular \u003c/em>corporation is fascinating—its puzzling business culture; its bizarre systems of employee performance reviews, rewards and punishments; its shadowy history and lore; and, most intriguingly, its mysteriously compelling founder. (Who seems like what you’d end up with if you mixed Joseph Smith and L. Ron Hubbard with Elon Musk.)\u003c/p>\n\u003cp>The whole affair requires a sustained deftness of tone that the series pulls off effortlessly, steadily ratcheting up the stakes and pacing while supplying its characters room to breathe, grow and complicate.\u003c/p>\n\u003cp>In “outie” Mark’s home life, his close relationship with his sister (a wryly funny and deeply empathetic Jen Tullock) provides him much-needed comfort, while her self-help author husband (the great Michael Chernus, who’s hilarious here) causes him only exasperated frustration—and supplies the series with its best jokes.\u003c/p>\n\u003cp>In “innie” Mark’s office life, his intense, ironically named boss Harmony (Patricia Arquette, going full ham and loving it) and aggressively affable office manager Milchick (Tramell Tillman) get to add layers to their performances and make choices that legitimately surprise us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And while all of this is going on, \u003cem>Severance \u003c/em>manages to be \u003cem>about \u003c/em>something, something that’s fascinating to grapple with, and not a little unsettling—the notion of who we are at our core, and precisely how much of our self-perception is shaped by the exterior forces constantly bombarding us. Is Mark’s “innie” truly a whole person, if he exists only to work? Can anything like a conscience arise in the absence of true consciousness?\u003c/p>\n\u003cp>\u003cem>Severance \u003c/em>raises these questions and many more and—intriguingly—isn’t particularly interested in serving up too-tidy answers.\u003c/p>\n\u003cp>I loved watching this show, but I do feel obliged to issue this caveat: \u003cem>Severance \u003c/em>has a nine-episode season, and has not, at this writing, been picked up for another. It ends on a perfectly orchestrated, nerve-wracking cliffhanger that finds every member of the cast making irrevocable, harrowing decisions. Big questions looming over the season do get answered, but in the process, even bigger ones get proposed, just as the final credits come up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sha'Carri Richardson Sees a Double Standard in Allowing Kamila Valieva to Compete",
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"content": "\u003cp>U.S. sprinter Sha’Carri Richardson is calling out Olympic and anti-doping officials, after Russian skater Kamila Valieva was \u003ca href=\"https://www.npr.org/2022/02/14/1080501383/russian-figure-skater-kamila-valieva-olympics-2022\" target=\"_blank\" rel=\"noopener noreferrer\">allowed to compete\u003c/a> despite testing positive for a banned drug.\u003c/p>\n\u003cp>[aside postid='arts_13909205']“Can we get a solid answer on the difference” between their situations? Richardson \u003ca href=\"https://twitter.com/itskerrii/status/1493209274457153536\" target=\"_blank\" rel=\"noopener noreferrer\">asked on Twitter\u003c/a>, after mediators ruled that Valieva should be allowed to skate in the women’s individual competition in Beijing.\u003c/p>\n\u003cp>“The only difference I see is I’m a Black young lady,” Richardson said.\u003c/p>\n\u003cp>“It’s all in the skin,” she added.\u003c/p>\n\u003cp>https://twitter.com/itskerrii/status/1493209274457153536\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richardson won the 100-meter race at the U.S. Olympic trials early last summer, but after it was revealed that she had tested positive for THC, the intoxicant in marijuana, she was denied a chance to compete at the Tokyo Olympics.\u003c/p>\n\u003cp>THC is on the World Anti-Doping Agency’s \u003ca href=\"https://www.wada-ama.org/en/prohibited-list?q=cannabis\" target=\"_blank\" rel=\"noopener noreferrer\">list of prohibited substances\u003c/a>—but so is trimetazidine, the drug that was found in Valieva’s test sample. The heart drug is believed to be able to boost athletes’ endurance and blood efficiency. In other words, it can boost athletic performance, while THC does not.\u003c/p>\n\u003cp>Richardson pointed out that difference \u003ca href=\"https://twitter.com/itskerrii/status/1493243694266396674\" target=\"_blank\" rel=\"noopener noreferrer\">in her tweets\u003c/a> responding to the ruling on Valieva’s eligibility at the Winter Olympics.\u003c/p>\n\u003cp>[aside postid='arts_13899840']Richardson, who like Valieva was favored to win a medal in her sport, also noted a stark difference in how their positive tests were handled. While the Russian star failed a test that was submitted in December, she somehow avoided a suspension.\u003c/p>\n\u003cp>News of the positive test only began to trickle out after Valieva helped her team win a gold medal in Beijing. In contrast, Richardson said, her drug test result quickly became public knowledge. “My name & talent was slaughtered to the people,” she added.\u003c/p>\n\u003cp>Valieva is being allowed to compete in Beijing under a cloud of suspicion—and in an extraordinary move, the International Olympic Committee\u003ca href=\"https://olympics.com/ioc/news/ioc-eb-decides-no-medal-ceremonies-following-cas-decision-on-the-case-of-roc-skater\" target=\"_blank\" rel=\"noopener noreferrer\"> says that \u003c/a>if the Russian star wins, a medal ceremony won’t take place until a doping investigation is completed. That could thrust the singles competition into the same limbo that has \u003ca href=\"https://www.npr.org/2022/02/10/1079829894/doping-scandal-olympics-russian-skater\" target=\"_blank\" rel=\"noopener noreferrer\">held up medals for the team event\u003c/a>, in which Russia took gold and the U.S. silver.\u003c/p>\n\u003cp>Richardson’s suspension just before the Tokyo Olympics triggered an outpouring of support for her and criticism for anti-doping rules, particularly because cannabis has shed much of the stigma it once carried. Dozens of U.S. states have legalized its use to some degree.\u003c/p>\n\u003cp>Dr. Michael Joyner, a physician and researcher on exercise physiology at the Mayo Clinic in Minnesota, \u003ca href=\"https://www.npr.org/2021/07/03/1012907963/what-to-know-about-olympic-marijuana-bans\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR last July\u003c/a> that he was surprised at how weak the scientific evidence is for banning cannabis in athletes.\u003c/p>\n\u003cp>[aside postid='pop_97017']“I think this is a legacy of just kind of poor regulation in terms of not specifically saying what drug is banned for which event,” he said, “and also this sort of reefer madness sort of holdover.”\u003c/p>\n\u003cp>Cannabis remains on the list of banned substances that the World Anti-Doping Agency released shortly after the Tokyo Olympics. But the agency \u003ca href=\"https://www.npr.org/2021/09/15/1037286650/wada-world-anti-doping-review-ban-cannabis-shacarri-richardson\" target=\"_blank\" rel=\"noopener noreferrer\">said in September\u003c/a> that it will review the ban, citing “requests from a number of stakeholders” in international athletics.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003ca href=\"https://www.npr.org/live-updates/russia-troops-ukraine-border#shacarri-richardson-would-like-a-word-after-valieva-is-allowed-to-compete-at-the-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\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=Sha%27Carri+Richardson+sees+a+double+standard+in+allowing+Kamila+Valieva+to+compete&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Richardson, who like Valieva was favored to win a medal in her sport, also noted a stark difference in how their positive tests were handled. While the Russian star failed a test that was submitted in December, she somehow avoided a suspension.\u003c/p>\n\u003cp>News of the positive test only began to trickle out after Valieva helped her team win a gold medal in Beijing. In contrast, Richardson said, her drug test result quickly became public knowledge. “My name & talent was slaughtered to the people,” she added.\u003c/p>\n\u003cp>Valieva is being allowed to compete in Beijing under a cloud of suspicion—and in an extraordinary move, the International Olympic Committee\u003ca href=\"https://olympics.com/ioc/news/ioc-eb-decides-no-medal-ceremonies-following-cas-decision-on-the-case-of-roc-skater\" target=\"_blank\" rel=\"noopener noreferrer\"> says that \u003c/a>if the Russian star wins, a medal ceremony won’t take place until a doping investigation is completed. That could thrust the singles competition into the same limbo that has \u003ca href=\"https://www.npr.org/2022/02/10/1079829894/doping-scandal-olympics-russian-skater\" target=\"_blank\" rel=\"noopener noreferrer\">held up medals for the team event\u003c/a>, in which Russia took gold and the U.S. silver.\u003c/p>\n\u003cp>Richardson’s suspension just before the Tokyo Olympics triggered an outpouring of support for her and criticism for anti-doping rules, particularly because cannabis has shed much of the stigma it once carried. Dozens of U.S. states have legalized its use to some degree.\u003c/p>\n\u003cp>Dr. Michael Joyner, a physician and researcher on exercise physiology at the Mayo Clinic in Minnesota, \u003ca href=\"https://www.npr.org/2021/07/03/1012907963/what-to-know-about-olympic-marijuana-bans\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR last July\u003c/a> that he was surprised at how weak the scientific evidence is for banning cannabis in athletes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think this is a legacy of just kind of poor regulation in terms of not specifically saying what drug is banned for which event,” he said, “and also this sort of reefer madness sort of holdover.”\u003c/p>\n\u003cp>Cannabis remains on the list of banned substances that the World Anti-Doping Agency released shortly after the Tokyo Olympics. But the agency \u003ca href=\"https://www.npr.org/2021/09/15/1037286650/wada-world-anti-doping-review-ban-cannabis-shacarri-richardson\" target=\"_blank\" rel=\"noopener noreferrer\">said in September\u003c/a> that it will review the ban, citing “requests from a number of stakeholders” in international athletics.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003ca href=\"https://www.npr.org/live-updates/russia-troops-ukraine-border#shacarri-richardson-would-like-a-word-after-valieva-is-allowed-to-compete-at-the-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\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=Sha%27Carri+Richardson+sees+a+double+standard+in+allowing+Kamila+Valieva+to+compete&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Not Interested in the Super Bowl? Try a Superb Owl Instead",
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"content": "\u003cp>This Sunday, football fans will choose sides in Super Bowl 56 between the Cincinatti Bengals and the Los Angeles Rams. But while much of the country is preoccupied with football and a smorgasbord of cream cheese-based dips, many others will spend the day rooting for another team: the owls.\u003c/p>\n\u003cp>“There are the Super Bowl watchers among us, and then there are the \u003cem>superb owl\u003c/em> watchers among us,” Ryan Mandelbaum, a science writer and bird enjoyer, told NPR.\u003c/p>\n\u003cp>If you haven’t already figured out the joke, tack the “B” from “Bowl” onto the end of “Super” and you get “Superb Owl”.\u003c/p>\n\u003cp>For birding enthusiasts like Mandelbaum, Superb Owl Sunday is a sacred day, a chance to appreciate the majestic creature by posting owl pics on social media en masse.\u003c/p>\n\u003cp>https://twitter.com/EverywhereBlair/status/1492153334026878977\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/FisherSpeaks/status/1223792215069057025\u003c/p>\n\u003cp>https://twitter.com/Darcie_Wilde/status/1492193158037491715\u003c/p>\n\u003cp>While people have probably been making the same pun long before Twitter, the real birth of the Superb Owl as a meme started in the late 2000s.\u003c/p>\n\u003cp>[aside postid='arts_13901725']Comedian Steven Colbert famously took advantage of it on \u003ca href=\"https://www.cc.com/video/y1y1q6/the-colbert-report-spotted-owls-vs-barred-owls-david-yarnold\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Colbert Report\u003c/em>\u003c/a> in 2014 to cover the Super Bowl without mentioning it by name directly, avoiding what he called “the wrath of a litigious NFL.”\u003c/p>\n\u003cp>“I heard some scurrilous accusations that my Superb Owl coverage is nothing more than a thinly veiled attempt to get huge ratings by talking about Sunday’s trademark, lets call it ‘sportgasm 48’,” Colbert said. “Why? Just because superb owl contains all the same letters as that thing that’s happening on Sunday in the exact same order? Hello! Ever heard of a thing called coin-cidence?”\u003c/p>\n\u003cp>Since then, what started as a seasonal internet meme has become a mainstream day of appreciation for the owl. It even got its own category on \u003cem>Jeopardy!\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XE8fdUIW-Wk\u003c/p>\n\u003cp>So, how do you actually celebrate Superb Owl Sunday?\u003c/p>\n\u003cp>Wings probably aren’t on the menu.\u003c/p>\n\u003cp>Martha Harbison, vice president of the Feminist Bird Club in New York City, suggests going out in your own area to see if you can spot some for yourself.\u003c/p>\n\u003cp>“Just take a walk in nature, especially at dawn and dusk,” they said. “It’s currently flirting season for owls. So there are a lot of them out there making a lot of noise, either looking for love or trying to defend territory.”\u003c/p>\n\u003cfigure id=\"attachment_13909351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/gettyimages-1197258967-aeaeb4f8426bed64ab7f0500317fbccdf537deb6-1-800x599.jpg\" alt=\"An owl sits on a wooden stump, while a man in the foreground, viewed from behind, takes its photo.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Seeing an owl in real life can be thrilling, but bird watchers say you need to be careful not to disturb them. \u003ccite>(Daniel Carson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harbison and Mandelbaum both recommend keeping a respectful distance from an owl’s nest, though. They’re not exactly the wise, kindly owls you might think.\u003c/p>\n\u003cp>[aside postid='arts_13907837']“They’re definitely not wise. I would not attribute wisdom to an owl at all, but I would say they are as smart as they need to be,” Mandelbaum said. “They are extremely good at killing and eating. They don’t, like, solve math problems. They’re not that smart.”\u003c/p>\n\u003cp>If you do want a closer look, you can try to check out #SuperbOwl, but chances are you will find mostly football highlights. Harbison recommends #EthicalOwlPhotography to find photos taken by responsible owl photographers, who are careful not to disturb the owls while appreciating them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So come Sunday, if you can’t bring yourself to root for the Bengals or the Rams, why not hoot for … the owls?\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=The+Superb+Owl+is+back%2C+and+the+crowd+goes+wild&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Sunday, football fans will choose sides in Super Bowl 56 between the Cincinatti Bengals and the Los Angeles Rams. But while much of the country is preoccupied with football and a smorgasbord of cream cheese-based dips, many others will spend the day rooting for another team: the owls.\u003c/p>\n\u003cp>“There are the Super Bowl watchers among us, and then there are the \u003cem>superb owl\u003c/em> watchers among us,” Ryan Mandelbaum, a science writer and bird enjoyer, told NPR.\u003c/p>\n\u003cp>If you haven’t already figured out the joke, tack the “B” from “Bowl” onto the end of “Super” and you get “Superb Owl”.\u003c/p>\n\u003cp>For birding enthusiasts like Mandelbaum, Superb Owl Sunday is a sacred day, a chance to appreciate the majestic creature by posting owl pics on social media en masse.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>While people have probably been making the same pun long before Twitter, the real birth of the Superb Owl as a meme started in the late 2000s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Comedian Steven Colbert famously took advantage of it on \u003ca href=\"https://www.cc.com/video/y1y1q6/the-colbert-report-spotted-owls-vs-barred-owls-david-yarnold\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Colbert Report\u003c/em>\u003c/a> in 2014 to cover the Super Bowl without mentioning it by name directly, avoiding what he called “the wrath of a litigious NFL.”\u003c/p>\n\u003cp>“I heard some scurrilous accusations that my Superb Owl coverage is nothing more than a thinly veiled attempt to get huge ratings by talking about Sunday’s trademark, lets call it ‘sportgasm 48’,” Colbert said. “Why? Just because superb owl contains all the same letters as that thing that’s happening on Sunday in the exact same order? Hello! Ever heard of a thing called coin-cidence?”\u003c/p>\n\u003cp>Since then, what started as a seasonal internet meme has become a mainstream day of appreciation for the owl. It even got its own category on \u003cem>Jeopardy!\u003c/em>.\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/XE8fdUIW-Wk'\n title='//www.youtube.com/embed/XE8fdUIW-Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So, how do you actually celebrate Superb Owl Sunday?\u003c/p>\n\u003cp>Wings probably aren’t on the menu.\u003c/p>\n\u003cp>Martha Harbison, vice president of the Feminist Bird Club in New York City, suggests going out in your own area to see if you can spot some for yourself.\u003c/p>\n\u003cp>“Just take a walk in nature, especially at dawn and dusk,” they said. “It’s currently flirting season for owls. So there are a lot of them out there making a lot of noise, either looking for love or trying to defend territory.”\u003c/p>\n\u003cfigure id=\"attachment_13909351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/gettyimages-1197258967-aeaeb4f8426bed64ab7f0500317fbccdf537deb6-1-800x599.jpg\" alt=\"An owl sits on a wooden stump, while a man in the foreground, viewed from behind, takes its photo.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Seeing an owl in real life can be thrilling, but bird watchers say you need to be careful not to disturb them. \u003ccite>(Daniel Carson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harbison and Mandelbaum both recommend keeping a respectful distance from an owl’s nest, though. They’re not exactly the wise, kindly owls you might think.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“They’re definitely not wise. I would not attribute wisdom to an owl at all, but I would say they are as smart as they need to be,” Mandelbaum said. “They are extremely good at killing and eating. They don’t, like, solve math problems. They’re not that smart.”\u003c/p>\n\u003cp>If you do want a closer look, you can try to check out #SuperbOwl, but chances are you will find mostly football highlights. Harbison recommends #EthicalOwlPhotography to find photos taken by responsible owl photographers, who are careful not to disturb the owls while appreciating them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So come Sunday, if you can’t bring yourself to root for the Bengals or the Rams, why not hoot for … the owls?\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=The+Superb+Owl+is+back%2C+and+the+crowd+goes+wild&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Reissue Helps Revive Joseph Hansen's Series About a Tough, Gay Detective",
"headTitle": "A Reissue Helps Revive Joseph Hansen’s Series About a Tough, Gay Detective | KQED",
"content": "\u003cp>Ever since I was given my first Hardy Boys book, I’ve loved American crime fiction. In my younger years, I mulched my way through the canonical books of \u003ca href=\"https://www.npr.org/2011/03/08/134364342/50-years-after-his-death-a-new-thrill-from-hammett\" target=\"_blank\" rel=\"noopener noreferrer\">Dashiell Hammett\u003c/a>, Raymond Chandler and \u003ca href=\"https://www.npr.org/2015/04/21/401222454/revisiting-a-suburbia-gone-sour-in-ross-macdonalds-crime-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">Ross Macdonald\u003c/a>, then moved on to the likes of \u003ca href=\"https://www.npr.org/2017/08/22/545261350/if-you-want-groundbreaking-noir-try-looking-in-a-lonely-place\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy B. Hughes\u003c/a>, \u003ca href=\"https://www.npr.org/2017/07/26/539487052/new-chester-himes-biography-reveals-a-life-as-wild-as-any-detective-story\" target=\"_blank\" rel=\"noopener noreferrer\">Chester Himes\u003c/a>, and Charles Willeford. I felt sure I’d read at least one book by everybody that’s good.\u003c/p>\n\u003cp>I was wrong. I didn’t know the work of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4207079\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph Hansen\u003c/a>. Back in 1970, Hansen began a series of 12 novels about an LA insurance investigator named Dave Brandstetter. The novels were something daring and new: featuring a tough guy detective who was also gay. Now in 2022, Soho Syndicate Books has just begun republishing the entire series, beginning with the first three—\u003cem>Fadeout\u003c/em>, \u003cem>Death Claims \u003c/em>and \u003cem>Troublemaker. \u003c/em>Having just read them, I’m a bit embarrassed it took me so long to discover him.\u003c/p>\n\u003cp>[aside postid='arts_13904458']Because the series progresses through time, you should start with the first one, \u003cem>Fadeout\u003c/em>, which introduces us to Brandstetter, an honest, hard-nosed World War II vet. As the story begins, his company has sent him to the ranch town of Pima, Ariz., to investigate the case of a radio personality named Fox Olson who has disappeared after a mysterious automobile mishap. If he’s committed suicide, they won’t have to pay the insurance.\u003c/p>\n\u003cp>Naturally, Brandstetter is soon caught in the usual crime-story briar patch, where one murder leads to another and the key to everything lies hidden in the past. Just as naturally, the dogged Brandstetter must work his way through a whole range of potential killers, from Olson’s hard-edged wife to the bullying local mayor whom Olson was hoping to unseat. And is Olson’s adoring young assistant really as sweet as she seems?\u003c/p>\n\u003cp>Hansen unfolds all this with taut economy, yet he’s equally deft in his handling of Brandstetter’s private life. Unlike most crime writers, he makes his hero’s personal life essential.\u003c/p>\n\u003cfigure id=\"attachment_13909310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909310\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fadeout,’ by Joseph Hansen. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fadeout\u003c/em> has the confidence to treat Brandstetter’s gayness matter-of-factly. We learn that he is mourning his longtime lover, a decorator, who has recently died; we see him go to a gay bar and hang out with his best friend, a lesbian named Madge who’s overly susceptible to lovely young women; and we watch him being wooed by a cute young fella he just may sleep with. Through it all, Brandstetter displays the virile, no-nonsense romanticism of a Humphrey Bogart character.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without ever hitting us over the head, Hansen reminds us that gay life is infinitely more varied than the insulting stereotypes that long dominated our culture, not least in the work of hard boiled crime writers. There’s a great exchange in the novel \u003cem>Death Claims\u003c/em>, when Brandstetter asks a young male suspect about his close friendship with another guy.\u003c/p>\n\u003cblockquote>\u003cp>“Do I look like a f–?” the guy sneers.\u003c/p>\n\u003cp>“I don’t know what a f– looks like,” Brandstetter replies. “And neither does anyone else.”\u003c/p>\u003c/blockquote>\n\u003cp>You can’t say it better than that.\u003c/p>\n\u003cp>Now, it would be an insult to Hansen to imply that his work is mainly of historical or sociological interest. Yes, Brandstetter is a groundbreaking figure. Yes, the plots sometimes turn on the psychic violence of being closeted. And yes, the series charts the changes in gay life over the years.\u003c/p>\n\u003cp>[aside postid='arts_13900522']Yet, even if his books weren’t trailblazing, Hansen would still be a terrific mystery writer. He’s every bit as good a stylist as Ross Macdonald, with a similarly poetic eye for Southern California’s defining blend of the sun-dazzled and the bleak. He populates his books with niftily sketched characters—from chirpy innkeepers and bellicose mechanics to fading movie stars and self-satisfied hippies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in Brandstetter, Hansen has created a hero worthy of such predecessors as Chandler’s Philip Marlowe and Macdonald’s Lew Archer. Smart, tough, witty and honorable, Dave Brandstetter is also too good to be true. But who cares? Hansen’s a talented enough storyteller that, book after book, we’re happy to walk down the mean streets in his company.\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=A+reissue+helps+revive+Joseph+Hansen%27s+series+about+a+tough%2C+gay+detective+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because the series progresses through time, you should start with the first one, \u003cem>Fadeout\u003c/em>, which introduces us to Brandstetter, an honest, hard-nosed World War II vet. As the story begins, his company has sent him to the ranch town of Pima, Ariz., to investigate the case of a radio personality named Fox Olson who has disappeared after a mysterious automobile mishap. If he’s committed suicide, they won’t have to pay the insurance.\u003c/p>\n\u003cp>Naturally, Brandstetter is soon caught in the usual crime-story briar patch, where one murder leads to another and the key to everything lies hidden in the past. Just as naturally, the dogged Brandstetter must work his way through a whole range of potential killers, from Olson’s hard-edged wife to the bullying local mayor whom Olson was hoping to unseat. And is Olson’s adoring young assistant really as sweet as she seems?\u003c/p>\n\u003cp>Hansen unfolds all this with taut economy, yet he’s equally deft in his handling of Brandstetter’s private life. Unlike most crime writers, he makes his hero’s personal life essential.\u003c/p>\n\u003cfigure id=\"attachment_13909310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909310\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/9781681990460_custom-4f3d0111b1a23c559c8f2bf4a7fbc38a9b069525.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fadeout,’ by Joseph Hansen. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fadeout\u003c/em> has the confidence to treat Brandstetter’s gayness matter-of-factly. We learn that he is mourning his longtime lover, a decorator, who has recently died; we see him go to a gay bar and hang out with his best friend, a lesbian named Madge who’s overly susceptible to lovely young women; and we watch him being wooed by a cute young fella he just may sleep with. Through it all, Brandstetter displays the virile, no-nonsense romanticism of a Humphrey Bogart character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without ever hitting us over the head, Hansen reminds us that gay life is infinitely more varied than the insulting stereotypes that long dominated our culture, not least in the work of hard boiled crime writers. There’s a great exchange in the novel \u003cem>Death Claims\u003c/em>, when Brandstetter asks a young male suspect about his close friendship with another guy.\u003c/p>\n\u003cblockquote>\u003cp>“Do I look like a f–?” the guy sneers.\u003c/p>\n\u003cp>“I don’t know what a f– looks like,” Brandstetter replies. “And neither does anyone else.”\u003c/p>\u003c/blockquote>\n\u003cp>You can’t say it better than that.\u003c/p>\n\u003cp>Now, it would be an insult to Hansen to imply that his work is mainly of historical or sociological interest. Yes, Brandstetter is a groundbreaking figure. Yes, the plots sometimes turn on the psychic violence of being closeted. And yes, the series charts the changes in gay life over the years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet, even if his books weren’t trailblazing, Hansen would still be a terrific mystery writer. He’s every bit as good a stylist as Ross Macdonald, with a similarly poetic eye for Southern California’s defining blend of the sun-dazzled and the bleak. He populates his books with niftily sketched characters—from chirpy innkeepers and bellicose mechanics to fading movie stars and self-satisfied hippies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in Brandstetter, Hansen has created a hero worthy of such predecessors as Chandler’s Philip Marlowe and Macdonald’s Lew Archer. Smart, tough, witty and honorable, Dave Brandstetter is also too good to be true. But who cares? Hansen’s a talented enough storyteller that, book after book, we’re happy to walk down the mean streets in his company.\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=A+reissue+helps+revive+Joseph+Hansen%27s+series+about+a+tough%2C+gay+detective+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Kimi' is a Pandemic-Era Thriller That's Eerily Keyed Into Our Current Moment",
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"content": "\u003cp>There have been countless thrillers about women who shut themselves away in their homes, only to learn that the world inside may be even more terrifying than the one outside. Not all of them are winners; for every ’60s classic like \u003cem>Repulsion\u003c/em> or \u003cem>Wait Until Dark\u003c/em>, there’s also a howler like last year’s overwrought Hitchcock homage \u003ca href=\"https://www.npr.org/2021/05/14/996178421/the-woman-in-the-window-locks-amy-adams-inside\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman in the Window\u003c/em>\u003c/a>\u003cem>.\u003c/em> The gripping new movie \u003cem>Kimi\u003c/em> is a nifty little addition to the shut-in canon. Like a lot of \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a>‘s output of late, it’s a sleek, low-budget genre exercise that’s eerily keyed into our current moment.\u003c/p>\n\u003cp>The movie takes place sometime mid-pandemic and follows a 30-something woman named Angela, played by a terrific Zoë Kravitz. She works for a large Seattle tech firm that manufactures Kimi, one of those virtual home assistants, like Siri or Alexa, that will dim your lights, play your music and patiently try to answer your every question.\u003c/p>\n\u003cp>[aside postid='arts_13908728']Angela has a Kimi of her own, which comes in handy since she never leaves her spacious loft apartment. She’s agoraphobic, and while she got a handle on her anxiety years earlier, she lost it again during COVID lockdown.\u003c/p>\n\u003cp>Angela’s job is to make Kimi smarter and more user-friendly. She listens to audio streams from customers whose requests Kimi didn’t understand—and then writes code that will fix the issue. One day, she hears a disturbing clip of a woman screaming and realizes that Kimi must have somehow recorded a violent crime in progress. But when Angela tries to report her findings to the company, she’s given the runaround and told to forget about what she heard. When she doesn’t and starts learning more about the victim, who appears to have been brutally murdered, things get unexpectedly hairy.\u003c/p>\n\u003cp>It’s a pleasure to watch Angela turn digital sleuth; Soderbergh is the kind of filmmaker so focused on minutiae that he can wring suspense from shots of typing fingers and blinking cursors. Eventually, Angela is told to come down to the office and meet with a company executive, forcing her to leave her apartment for the first time in months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A8QvFlhO14k\u003c/p>\n\u003cp>Soderbergh and his screenwriter, David Koepp, have structured \u003cem>Kimi\u003c/em> as a sly 21st-century riff on classic paranoid thrillers from the 1970s. The fact that Angela is both surveilling and being surveilled harks back to \u003cem>The Conversation\u003c/em>, while the sinister corporate conspiracy she uncovers echoes \u003cem>The Parallax View\u003c/em>. Paranoia, of course, isn’t an inappropriate response to a world where anyone with a smartphone knows that they’re being closely tracked.\u003c/p>\n\u003cp>\u003cem>Kimi\u003c/em> packs a lot of ideas into its brisk 89-minute running time about the pervasiveness of digital technologies, especially at a moment when COVID has made us more reliant on them than ever. But the movie also works like gangbusters as a pure thriller, from its outdoor chase sequences shot across downtown Seattle to its squirmingly tense \u003cem>Panic Room\u003c/em> finale.\u003c/p>\n\u003cp>[aside postid='arts_13907789']It wouldn’t work nearly as well without Kravitz, who makes for an extremely likable protagonist in part because her character has no interest in seeming likable. Angela’s anxiety earns your sympathy, and her persistence and resourcefulness earn your respect. But she can also be impatient and inconsiderate of the people in her life, whether it’s her mom, whom she argues with on FaceTime, or the love interest who lives in the apartment across the street, in a tip of the hat to Hitchcock’s \u003cem>Rear Window\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Angela’s only human, in other words, and while most viewers may not share her agoraphobia, many of us can identify with her fears of going out after months of isolation. That’s why it’s both harrowing and moving when she finally musters the courage to leave home. Soderbergh, who shot and edited the film, uses tilted camera angles and bustling city noises to convey a sense of Angela’s disorientation. But as she moves forward, Angela adjusts, and \u003cem>Kimi \u003c/em>becomes a story about what it’s like to reconnect with the world. That world might be a big, scary place, but it’s not necessarily scarier than what’s going on indoors, where someone might always be watching—or listening.\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=%27Kimi%27+is+a+pandemic-era+thriller+that%27s+eerily+keyed+into+our+current+moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been countless thrillers about women who shut themselves away in their homes, only to learn that the world inside may be even more terrifying than the one outside. Not all of them are winners; for every ’60s classic like \u003cem>Repulsion\u003c/em> or \u003cem>Wait Until Dark\u003c/em>, there’s also a howler like last year’s overwrought Hitchcock homage \u003ca href=\"https://www.npr.org/2021/05/14/996178421/the-woman-in-the-window-locks-amy-adams-inside\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman in the Window\u003c/em>\u003c/a>\u003cem>.\u003c/em> The gripping new movie \u003cem>Kimi\u003c/em> is a nifty little addition to the shut-in canon. Like a lot of \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a>‘s output of late, it’s a sleek, low-budget genre exercise that’s eerily keyed into our current moment.\u003c/p>\n\u003cp>The movie takes place sometime mid-pandemic and follows a 30-something woman named Angela, played by a terrific Zoë Kravitz. She works for a large Seattle tech firm that manufactures Kimi, one of those virtual home assistants, like Siri or Alexa, that will dim your lights, play your music and patiently try to answer your every question.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Angela has a Kimi of her own, which comes in handy since she never leaves her spacious loft apartment. She’s agoraphobic, and while she got a handle on her anxiety years earlier, she lost it again during COVID lockdown.\u003c/p>\n\u003cp>Angela’s job is to make Kimi smarter and more user-friendly. She listens to audio streams from customers whose requests Kimi didn’t understand—and then writes code that will fix the issue. One day, she hears a disturbing clip of a woman screaming and realizes that Kimi must have somehow recorded a violent crime in progress. But when Angela tries to report her findings to the company, she’s given the runaround and told to forget about what she heard. When she doesn’t and starts learning more about the victim, who appears to have been brutally murdered, things get unexpectedly hairy.\u003c/p>\n\u003cp>It’s a pleasure to watch Angela turn digital sleuth; Soderbergh is the kind of filmmaker so focused on minutiae that he can wring suspense from shots of typing fingers and blinking cursors. Eventually, Angela is told to come down to the office and meet with a company executive, forcing her to leave her apartment for the first time in months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/A8QvFlhO14k'\n title='//www.youtube.com/embed/A8QvFlhO14k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Soderbergh and his screenwriter, David Koepp, have structured \u003cem>Kimi\u003c/em> as a sly 21st-century riff on classic paranoid thrillers from the 1970s. The fact that Angela is both surveilling and being surveilled harks back to \u003cem>The Conversation\u003c/em>, while the sinister corporate conspiracy she uncovers echoes \u003cem>The Parallax View\u003c/em>. Paranoia, of course, isn’t an inappropriate response to a world where anyone with a smartphone knows that they’re being closely tracked.\u003c/p>\n\u003cp>\u003cem>Kimi\u003c/em> packs a lot of ideas into its brisk 89-minute running time about the pervasiveness of digital technologies, especially at a moment when COVID has made us more reliant on them than ever. But the movie also works like gangbusters as a pure thriller, from its outdoor chase sequences shot across downtown Seattle to its squirmingly tense \u003cem>Panic Room\u003c/em> finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It wouldn’t work nearly as well without Kravitz, who makes for an extremely likable protagonist in part because her character has no interest in seeming likable. Angela’s anxiety earns your sympathy, and her persistence and resourcefulness earn your respect. But she can also be impatient and inconsiderate of the people in her life, whether it’s her mom, whom she argues with on FaceTime, or the love interest who lives in the apartment across the street, in a tip of the hat to Hitchcock’s \u003cem>Rear Window\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Angela’s only human, in other words, and while most viewers may not share her agoraphobia, many of us can identify with her fears of going out after months of isolation. That’s why it’s both harrowing and moving when she finally musters the courage to leave home. Soderbergh, who shot and edited the film, uses tilted camera angles and bustling city noises to convey a sense of Angela’s disorientation. But as she moves forward, Angela adjusts, and \u003cem>Kimi \u003c/em>becomes a story about what it’s like to reconnect with the world. That world might be a big, scary place, but it’s not necessarily scarier than what’s going on indoors, where someone might always be watching—or listening.\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=%27Kimi%27+is+a+pandemic-era+thriller+that%27s+eerily+keyed+into+our+current+moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Olympic Figure Skaters' Medals Are in Limbo Over a (New) Russian Doping Scandal",
"headTitle": "Olympic Figure Skaters’ Medals Are in Limbo Over a (New) Russian Doping Scandal | KQED",
"content": "\u003cp>Medalists in team figure skating still haven’t received their prizes at the Beijing Olympics, because of an apparent failed doping test. Russian media report that the athlete in question is Kamila Valieva, who made history by landing two quadruple jumps.\u003c/p>\n\u003cp>Reports surfaced on Wednesday that Valieva, 15, tested positive for a heart drug called trimetazidine, which can boost athletes’ endurance and blood efficiency. Russian media outlets report that Valieva submitted the sample in question before winning last month’s European championship.\u003c/p>\n\u003cp>[aside postid='arts_13909079']Valieva returned to the ice Thursday after missing practice on Wednesday. Her absence had led to speculation that she might have been suspended—but Olga Ermolina, a press officer of the Russian Figure Skating Federation, told media outlets that Valieva is not under an Olympic suspension. That implies Valieva will compete in the women’s single competition, which begins on Tuesday.\u003c/p>\n\u003cp>The teams’ medal ceremony for the Russian Olympic Committee (who won gold), the U.S. (silver) and Japan (bronze) was called off on Tuesday because of what officials describe as a “legal issue.” As of Thursday, the medals remain in limbo. If Russia’s win is thrown out, fourth-place Canada would gain a spot on the podium and the U.S. would rise to take the gold.\u003c/p>\n\u003cp>The high-profile case is a test of the Olympics’ ideals of the fairness and integrity of sport, according to USOPC board chairwoman Susanne Lyons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While we don’t have all the information on this situation, the reality is that the whole credibility of the Olympic Movement and the Paralympic Movement stands teetering on the edge,” Lyons said in a statement sent to NPR.\u003c/p>\n\u003cp>Aside from the timing of the test, another complication could be Valieva’s age. At 15, she is a “protected person,” as defined by the \u003ca href=\"https://www.wada-ama.org/sites/default/files/resources/files/2021_wada_code.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">World Anti-Doping Code\u003c/a>. That lowers the potential punishment for minor athletes who are confirmed to be doping to a minimum of a reprimand and a maximum of a two-year ban. And under the code, officials are not required to publicly identify such athletes.\u003c/p>\n\u003cp>[aside postid='news_11651348']The \u003ca href=\"https://www.usada.org/spirit-of-sport/education/pl-major-changes-sos-winter-2013-2014/\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Anti-Doping Agency\u003c/a> says trimetazidine was added to the WADA Prohibited List in 2014—initially as a stimulant banned only during competition. But for 2015, \u003ca href=\"https://www.usada.org/wp-content/uploads/wada-2015-prohibited-list-en.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">it was classified\u003c/a> as a metabolic modulator and banned both during and outside of competition.\u003c/p>\n\u003cp>Trimetazidine has previously been linked to athletes from Russia, which remains under sanctions stemming from its \u003ca href=\"https://www.npr.org/sections/thetorch/2016/07/18/486481634/russia-should-be-barred-from-rio-olympics-world-anti-doping-agency-says\" target=\"_blank\" rel=\"noopener noreferrer\">state-sanctioned program\u003c/a> of using drugs to cheat in sports.\u003c/p>\n\u003cp>At the Winter Olympics in Pyeongchang, trimetazidine was detected in Russian bobsledder Nadezhda Sergeeva. In that case, \u003ca href=\"https://www.npr.org/sections/thetorch/2018/02/24/588486348/russian-bobsledder-disqualified-for-doping-court-says\" target=\"_blank\" rel=\"noopener noreferrer\">Sergeeva was disqualified\u003c/a> and her two-person team’s results were thrown out.\u003c/p>\n\u003cp>Also in 2018, Russian curler Alexander Krushelnitsky’s team was stripped of its bronze medal after he tested positive for meldonium—another drug that increases blood flow. It’s banned under the same section of the WADA \u003ca href=\"https://www.wada-ama.org/sites/default/files/resources/files/2022list_final_en.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited list\u003c/a> as trimetazidine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Krushelnitsky received a four-year ban. Sergeeva was initially hit with the same punishment, but the Court of Arbitration for Sport reduced her ban to two years, despite her previously testing positive for meldonium. Sergeeva is \u003ca href=\"https://olympics.com/beijing-2022/olympic-games/en/results/bobsleigh/athlete-profile-n1056098-nadezhda-sergeeva.htm\" target=\"_blank\" rel=\"noopener noreferrer\">competing in the Beijing Games\u003c/a>; she took her first training runs on Thursday.\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=Olympic+figure+skaters%27+medals+are+in+limbo+over+a+%28new%29+Russian+doping+scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Medalists in team figure skating still haven’t received their prizes at the Beijing Olympics, because of an apparent failed doping test. Russian media report that the athlete in question is Kamila Valieva, who made history by landing two quadruple jumps.\u003c/p>\n\u003cp>Reports surfaced on Wednesday that Valieva, 15, tested positive for a heart drug called trimetazidine, which can boost athletes’ endurance and blood efficiency. Russian media outlets report that Valieva submitted the sample in question before winning last month’s European championship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Valieva returned to the ice Thursday after missing practice on Wednesday. Her absence had led to speculation that she might have been suspended—but Olga Ermolina, a press officer of the Russian Figure Skating Federation, told media outlets that Valieva is not under an Olympic suspension. That implies Valieva will compete in the women’s single competition, which begins on Tuesday.\u003c/p>\n\u003cp>The teams’ medal ceremony for the Russian Olympic Committee (who won gold), the U.S. (silver) and Japan (bronze) was called off on Tuesday because of what officials describe as a “legal issue.” As of Thursday, the medals remain in limbo. If Russia’s win is thrown out, fourth-place Canada would gain a spot on the podium and the U.S. would rise to take the gold.\u003c/p>\n\u003cp>The high-profile case is a test of the Olympics’ ideals of the fairness and integrity of sport, according to USOPC board chairwoman Susanne Lyons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While we don’t have all the information on this situation, the reality is that the whole credibility of the Olympic Movement and the Paralympic Movement stands teetering on the edge,” Lyons said in a statement sent to NPR.\u003c/p>\n\u003cp>Aside from the timing of the test, another complication could be Valieva’s age. At 15, she is a “protected person,” as defined by the \u003ca href=\"https://www.wada-ama.org/sites/default/files/resources/files/2021_wada_code.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">World Anti-Doping Code\u003c/a>. That lowers the potential punishment for minor athletes who are confirmed to be doping to a minimum of a reprimand and a maximum of a two-year ban. And under the code, officials are not required to publicly identify such athletes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.usada.org/spirit-of-sport/education/pl-major-changes-sos-winter-2013-2014/\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Anti-Doping Agency\u003c/a> says trimetazidine was added to the WADA Prohibited List in 2014—initially as a stimulant banned only during competition. But for 2015, \u003ca href=\"https://www.usada.org/wp-content/uploads/wada-2015-prohibited-list-en.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">it was classified\u003c/a> as a metabolic modulator and banned both during and outside of competition.\u003c/p>\n\u003cp>Trimetazidine has previously been linked to athletes from Russia, which remains under sanctions stemming from its \u003ca href=\"https://www.npr.org/sections/thetorch/2016/07/18/486481634/russia-should-be-barred-from-rio-olympics-world-anti-doping-agency-says\" target=\"_blank\" rel=\"noopener noreferrer\">state-sanctioned program\u003c/a> of using drugs to cheat in sports.\u003c/p>\n\u003cp>At the Winter Olympics in Pyeongchang, trimetazidine was detected in Russian bobsledder Nadezhda Sergeeva. In that case, \u003ca href=\"https://www.npr.org/sections/thetorch/2018/02/24/588486348/russian-bobsledder-disqualified-for-doping-court-says\" target=\"_blank\" rel=\"noopener noreferrer\">Sergeeva was disqualified\u003c/a> and her two-person team’s results were thrown out.\u003c/p>\n\u003cp>Also in 2018, Russian curler Alexander Krushelnitsky’s team was stripped of its bronze medal after he tested positive for meldonium—another drug that increases blood flow. It’s banned under the same section of the WADA \u003ca href=\"https://www.wada-ama.org/sites/default/files/resources/files/2022list_final_en.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited list\u003c/a> as trimetazidine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Krushelnitsky received a four-year ban. Sergeeva was initially hit with the same punishment, but the Court of Arbitration for Sport reduced her ban to two years, despite her previously testing positive for meldonium. Sergeeva is \u003ca href=\"https://olympics.com/beijing-2022/olympic-games/en/results/bobsleigh/athlete-profile-n1056098-nadezhda-sergeeva.htm\" target=\"_blank\" rel=\"noopener noreferrer\">competing in the Beijing Games\u003c/a>; she took her first training runs on Thursday.\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=Olympic+figure+skaters%27+medals+are+in+limbo+over+a+%28new%29+Russian+doping+scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Black Activists Used Lynching Souvenirs to Expose American Violence",
"headTitle": "How Black Activists Used Lynching Souvenirs to Expose American Violence | KQED",
"content": "\u003cp>Photos showing the lynchings of African Americans in the 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> century are some of the most troubling records of the racist history of the United States.\u003c/p>\n\u003cp>But these black-and-white photographs are what filmmaker Christine Turner chose to focus on for her new documentary, \u003cem>Lynching Postcards: ‘Token Of A Great Day’. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13891832']Turner examined hundreds of these pictures and primarily focused on the ones that people who attended these lynchings sent as postcards to family and friends.\u003c/p>\n\u003cp>As the film opens, the first postcard people see is an image of a Black man hanging from a tree, but it’s zoomed in enough that all that can be seen of him are his dangling feet. The focus then becomes the white men standing behind him, looking directly at the camera, with some smiling.\u003c/p>\n\u003cp>Turner said she did this to train the audience’s eyes to focus on the participants and see their “sense of pride.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that for me, this story is so much about the participants of the lynching, more so than of the people who had been victimized,” Turner said. “I think oftentimes we think that lynchings are these spontaneous events, right? That a group of men in the woods decide to suddenly lynch someone. But these were planned events.”\u003c/p>\n\u003cfigure id=\"attachment_13909126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png\" alt=\"Hundreds of people gather in a field, some holding umbrellas, some sitting on horses. In the far distance, a ramshackle wooden platform with a few men standing on top.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-1020x725.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191.png 1533w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For her new documentary, Lynching Postcards: Token Of A Great Day, filmmaker Christine Turner examined hundreds of black-and-white photographs that show how organized these events were and included chilling messages that shared the experience with those who weren’t there. The postcard above shows the crowd at the lynching of Henry Smith in Paris, Texas, in 1893. \u003ccite>(Photo by J.L. Mertins/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These community events weren’t just the work of the infamous Ku Klux Klan, but of ordinary people from all social classes, Turner said.\u003c/p>\n\u003cp>In an interview with \u003cem>All Things Considered, \u003c/em>Turner spoke about the how photos from these events became postcards, how the postcards then became tools in anti-lynching campaigns, and the parallels with recent killings of Black men in America.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Adrian Florido: “Token Of A Great Day”—why that title?\u003c/strong>\u003c/p>\n\u003cp>Turner: “Token Of A Great Day” actually comes from a handwritten message on the back of one of these lynching postcards. And it speaks to the attitude and the viewpoint of many of the participants at these public spectacle lynchings. You know, these postcards were mementos. They were souvenirs from these events. And so for some, they were a token of a great day.\u003c/p>\n\u003cp>\u003cstrong>Something that surprised me watching your film was to learn that at the places where an upcoming lynching had been announced, photographers would strike deals with town officials to get a prime spot at the front of the crowd. These photographs and these postcards became a whole industry.\u003c/strong>\u003c/p>\n\u003cp>Exactly. And in the film, there’s one particular lynching that we focus in on. It’s the story of Jesse Washington, who was lynched in 1916 in Waco, Texas. And his lynching took place at city hall.\u003c/p>\n\u003cp>And the town photographer—his name was Fred Gildersleeve—actually worked with the local government to find a place to photograph the lynching that would take place. And these photographs that Gildersleeve took were later turned into postcards that were sold in the community.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rWMZlQ281gM\u003c/p>\n\u003cp>\u003cstrong>Why did these pictures get turned into postcards? Why were people clamoring for these souvenirs from these events?\u003c/strong>\u003c/p>\n\u003cp>Really, it was a way, I think, to sort of relive that experience of attending the lynching, right? And that sense of power and control, as historian Leigh Raiford talks about in the film. And it was also a way to disseminate that experience and to share that experience with friends and family.\u003c/p>\n\u003cp>[aside postid='arts_13908852']And in one postcard that is featured in the film, in the message on the back, the young man is writing to his parents, and he says, “This is the barbecue that we had last night”. And I think, in a way, these messages on the back are just as chilling as the images on the front.\u003c/p>\n\u003cp>\u003cstrong>These postcards were clearly a celebration of white supremacy, right? But at some point, they did become a tool for people who decided to do something about lynching, to launch anti-lynching campaigns. How did these postcards become the tool that these activists used?\u003c/strong>\u003c/p>\n\u003cp>What anti-lynching activists such as the NAACP did is they really turned these postcards on their head, and they used them as evidence in their fight against lynching. So they laid them out there to really shame the country and the world and to make people aware of what was happening all over.\u003c/p>\n\u003cp>So in making this film, it was really important to me to make a film that wasn’t just going to be another story of victimization. But really, this is a story of Black resistance. And at its core, it’s about how these postcards were ultimately turned on their head and were subverted by these Black activists.\u003c/p>\n\u003cp>\u003cstrong>It reminded me of the way that images and films have become such an important part of today’s fights for racial justice. The global uprising over George Floyd’s killing under Derek Chauvin’s knee was sparked by a cellphone video. The white men who chased and killed Ahmaud Arbery in Georgia—they filmed it themselves.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Both of those cases have been called modern-day lynchings caught on tape. Were those parallels on your mind at all as you made your film?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13909111']Absolutely. I mean, I was thinking a lot about Ahmaud Arbery’s murder and the way in which it was captured on video by the murderers and then how that video was later used against them. And I think, for me, I was hoping that this film could help sort of lay out this lineage and this history and give us a better understanding of what might be occurring today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>NPR has compiled a list of stories, performances and other content that chronicles the Black American experience for Black History Month. \u003c/em>\u003ca href=\"https://www.npr.org/series/1075788889/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>See the whole collection here.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Black+activists+used+lynching+souvenirs+to+expose+American+violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photos showing the lynchings of African Americans in the 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> century are some of the most troubling records of the racist history of the United States.\u003c/p>\n\u003cp>But these black-and-white photographs are what filmmaker Christine Turner chose to focus on for her new documentary, \u003cem>Lynching Postcards: ‘Token Of A Great Day’. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Turner examined hundreds of these pictures and primarily focused on the ones that people who attended these lynchings sent as postcards to family and friends.\u003c/p>\n\u003cp>As the film opens, the first postcard people see is an image of a Black man hanging from a tree, but it’s zoomed in enough that all that can be seen of him are his dangling feet. The focus then becomes the white men standing behind him, looking directly at the camera, with some smiling.\u003c/p>\n\u003cp>Turner said she did this to train the audience’s eyes to focus on the participants and see their “sense of pride.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that for me, this story is so much about the participants of the lynching, more so than of the people who had been victimized,” Turner said. “I think oftentimes we think that lynchings are these spontaneous events, right? That a group of men in the woods decide to suddenly lynch someone. But these were planned events.”\u003c/p>\n\u003cfigure id=\"attachment_13909126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png\" alt=\"Hundreds of people gather in a field, some holding umbrellas, some sitting on horses. In the far distance, a ramshackle wooden platform with a few men standing on top.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-1020x725.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191.png 1533w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For her new documentary, Lynching Postcards: Token Of A Great Day, filmmaker Christine Turner examined hundreds of black-and-white photographs that show how organized these events were and included chilling messages that shared the experience with those who weren’t there. The postcard above shows the crowd at the lynching of Henry Smith in Paris, Texas, in 1893. \u003ccite>(Photo by J.L. Mertins/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These community events weren’t just the work of the infamous Ku Klux Klan, but of ordinary people from all social classes, Turner said.\u003c/p>\n\u003cp>In an interview with \u003cem>All Things Considered, \u003c/em>Turner spoke about the how photos from these events became postcards, how the postcards then became tools in anti-lynching campaigns, and the parallels with recent killings of Black men in America.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Adrian Florido: “Token Of A Great Day”—why that title?\u003c/strong>\u003c/p>\n\u003cp>Turner: “Token Of A Great Day” actually comes from a handwritten message on the back of one of these lynching postcards. And it speaks to the attitude and the viewpoint of many of the participants at these public spectacle lynchings. You know, these postcards were mementos. They were souvenirs from these events. And so for some, they were a token of a great day.\u003c/p>\n\u003cp>\u003cstrong>Something that surprised me watching your film was to learn that at the places where an upcoming lynching had been announced, photographers would strike deals with town officials to get a prime spot at the front of the crowd. These photographs and these postcards became a whole industry.\u003c/strong>\u003c/p>\n\u003cp>Exactly. And in the film, there’s one particular lynching that we focus in on. It’s the story of Jesse Washington, who was lynched in 1916 in Waco, Texas. And his lynching took place at city hall.\u003c/p>\n\u003cp>And the town photographer—his name was Fred Gildersleeve—actually worked with the local government to find a place to photograph the lynching that would take place. And these photographs that Gildersleeve took were later turned into postcards that were sold in the community.\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/rWMZlQ281gM'\n title='//www.youtube.com/embed/rWMZlQ281gM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Why did these pictures get turned into postcards? Why were people clamoring for these souvenirs from these events?\u003c/strong>\u003c/p>\n\u003cp>Really, it was a way, I think, to sort of relive that experience of attending the lynching, right? And that sense of power and control, as historian Leigh Raiford talks about in the film. And it was also a way to disseminate that experience and to share that experience with friends and family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in one postcard that is featured in the film, in the message on the back, the young man is writing to his parents, and he says, “This is the barbecue that we had last night”. And I think, in a way, these messages on the back are just as chilling as the images on the front.\u003c/p>\n\u003cp>\u003cstrong>These postcards were clearly a celebration of white supremacy, right? But at some point, they did become a tool for people who decided to do something about lynching, to launch anti-lynching campaigns. How did these postcards become the tool that these activists used?\u003c/strong>\u003c/p>\n\u003cp>What anti-lynching activists such as the NAACP did is they really turned these postcards on their head, and they used them as evidence in their fight against lynching. So they laid them out there to really shame the country and the world and to make people aware of what was happening all over.\u003c/p>\n\u003cp>So in making this film, it was really important to me to make a film that wasn’t just going to be another story of victimization. But really, this is a story of Black resistance. And at its core, it’s about how these postcards were ultimately turned on their head and were subverted by these Black activists.\u003c/p>\n\u003cp>\u003cstrong>It reminded me of the way that images and films have become such an important part of today’s fights for racial justice. The global uprising over George Floyd’s killing under Derek Chauvin’s knee was sparked by a cellphone video. The white men who chased and killed Ahmaud Arbery in Georgia—they filmed it themselves.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Both of those cases have been called modern-day lynchings caught on tape. Were those parallels on your mind at all as you made your film?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Absolutely. I mean, I was thinking a lot about Ahmaud Arbery’s murder and the way in which it was captured on video by the murderers and then how that video was later used against them. And I think, for me, I was hoping that this film could help sort of lay out this lineage and this history and give us a better understanding of what might be occurring today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR has compiled a list of stories, performances and other content that chronicles the Black American experience for Black History Month. \u003c/em>\u003ca href=\"https://www.npr.org/series/1075788889/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>See the whole collection here.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Black+activists+used+lynching+souvenirs+to+expose+American+violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "6 Quick Takeaways From This Year's Oscar Nominations",
"headTitle": "6 Quick Takeaways From This Year’s Oscar Nominations | KQED",
"content": "\u003cp>No, the Oscars are not a true measure of merit; they never have been. Yes, they’re a popularity contest, thanks to a system that can and does get gamed by expensive media campaigns. And yes, they’re just an excuse for an industry teeming with self-congratulatory personalities to lavishly congratulate itself.\u003c/p>\n\u003cp>Given all that, at the end of the day—yes, they’re fun. They’re fun to gawk at, fun to argue over and capable, under the right circumstances, of doing some actual good. A nomination can help audiences find a smaller movie they might have otherwise overlooked.\u003c/p>\n\u003cp>Some of you might object to treating the Oscars like a horserace. Some of you are wrong; that’s all the Oscars are. And with this morning’s nominations, the race is on. Here’s six things that leapt out:\u003c/p>\n\u003ch3>1. More Oscar voters = more diversity\u003c/h3>\n\u003cp>Nearly 9,500 members of the Academy of Motion Picture Arts and Sciences are eligible to cast votes this year—that’s a more than 30% increase in voting membership since the 2016 #OscarsSoWhite movement drove AMPAS to take efforts to make its voting pool younger and more diverse.\u003c/p>\n\u003cp>[aside postid='arts_13901279']This year, of the acting categories, only supporting actor remains #Sowhite, with Ciarán Hinds (\u003cem>Belfast\u003c/em>), Troy Kotsur (\u003cem>CODA\u003c/em>), Jesse Plemmons (\u003cem>The Power of the Dog\u003c/em>), Kodi Smit-McPhee (\u003cem>The Power of the Dog\u003c/em>) and J.K. Simmons (\u003cem>Being the Ricardos\u003c/em>) nudging out, among others, the blistering, unpredictable performance of Colman Domingo in \u003cem>Zola\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simmons has won in this category before, for \u003cem>Whiplash\u003c/em>, but this is the first nomination for the other four. Smart money’s on Smit-McPhee, whose performance is an extended act of stealth warfare.\u003c/p>\n\u003cp>The lead actor category is dominated by people of color, including a surprising nomination for Javier Bardem (\u003cem>Being the Ricardos\u003c/em>), and much-less-surprising nods for Will Smith (\u003cem>King Richard\u003c/em>) and Denzel Washington (\u003cem>The Tragedy of Macbeth\u003c/em>). And although Benedict Cumberbatch (\u003cem>The Power of the Dog\u003c/em>) seemed an early lock-on favorite, and Andrew Garfield’s nomination for \u003cem>Tick, Tick … Boom! \u003c/em>warms the hearts of musical-lovers, this is Denzel’s category to lose.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptqe7s6pO7g\u003c/p>\n\u003cp>The actress categories are all over the map, and generated some of the true surprises of the morning.\u003c/p>\n\u003cp>For supporting actress, everyone has been talking about Ariana DeBose for \u003cem>West Side Story \u003c/em>and Kirsten Dunst for \u003cem>The Power of the Dog\u003c/em>. The Judi Dench nomination for \u003cem>Belfast\u003c/em>—making her the oldest woman ever nominated in the supporting actress category—testifies to the fact that the Oscar voting pool still contains some of the old guard. Jessie Buckley’s nomination for \u003cem>The Lost Daughter\u003c/em> hadn’t been seriously tossed around among Oscar watchers, but her performance as Olivia Colman’s younger self in that film is crucial to understanding how Colman’s character became as damaged as she is. And that sound you heard when Aunjanue Ellis’ name was announced for \u003cem>King Richard\u003c/em> was a vast number of people who’ve been watching this excellent actress putting in the work for decades shouting, “Finally!”\u003c/p>\n\u003cp>[aside postid='arts_13906968']The lead actress category was full of previous nominees—Jessica Chastain for \u003cem>The Eyes of Tammy Faye\u003c/em>, Olivia Colman for \u003cem>The Lost Daughter\u003c/em>, Nicole Kidman for \u003cem>Being the Ricardos\u003c/em>, and Penelope Cruz for \u003cem>Parallel Mothers\u003c/em>. But while the Cruz nod wasn’t widely predicted, she does provide Almodovar’s baby-switching melodrama with a grounded quality it otherwise lacks. Maybe the biggest surprise of the morning, (besides Ruth Negga’s snub for \u003cem>Passing\u003c/em>), came from the category’s sole never-before-nominated actress: Kristen Stewart for \u003cem>Spencer\u003c/em>.\u003c/p>\n\u003cp>Stewart’s (literally) haunted performance in Pablo Larrain’s Diana biopic had a lot of buzz early on, but when she got overlooked by the BAFTAs, which generally act as a kind of Oscars bellwether, all that buzz faded away. Turns out she got counted out too early. Nevertheless, look for Kidman to stomp on the competition like they’re so many grapes under Lucy Ricardo’s bare feet.\u003c/p>\n\u003cp>As for best picture, the Japanese film\u003cem> Drive My Car\u003c/em> made it into the running, in addition to its nominations for best international feature, best directing and best adapted screenplay—just as \u003cem>Parasite\u003c/em> did, two years ago. Though beloved by critics, its moody, introspective tone and three-hour running time will likely combine to preclude a repeat of \u003cem>Parasite\u003c/em>‘s singular success.\u003c/p>\n\u003ch3>2. The dog? Is powerful!\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=LRDPo0CHrko\u003c/p>\n\u003cp>Jane Campion’s \u003cem>The Power of the Dog \u003c/em>was the morning’s big winner, with 12 nominations, beating out \u003cem>Dune \u003c/em>(10 nominations), \u003cem>West Side Story \u003c/em>(8), \u003cem>Belfast \u003c/em>(7) and \u003cem>King Richard\u003c/em> (6).\u003c/p>\n\u003cp>Campion’s nomination for best director makes her the first woman who’s been nominated twice in that category. Should she win, as she is heavily favored to do, she will only be the third woman to do so.\u003c/p>\n\u003cp>It would also represent the first best picture win for Netflix—a major battle victory in the ongoing war between streaming and theaters.\u003c/p>\n\u003ch3>3. The big battle: Feelgood vs. Feeldark\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Ja3PPOnJQ2k\u003c/p>\n\u003cp>In the race for best picture, it’s likely going to come down to a fight between two very different movies: Kenneth Branagh’s warmly nostalgic \u003cem>Belfast\u003c/em>, and Campion’s not-at-all-warm, acidic \u003cem>The Power of the Dog\u003c/em>.\u003c/p>\n\u003cp>Both Branagh’s semi-autobiographical, poignant remembrance of his youth during The Troubles in Northern Ireland, and Campion’s dispassionate autopsy of festering masculinity, prove deeply satisfying, albeit in widely divergent ways. \u003cem>Belfast \u003c/em>provides comfort, while \u003cem>The Power of the Dog\u003c/em> provides cathartic, steel-trap plotting.\u003c/p>\n\u003cp>Five years ago, Belfast’s strong performances, young narrator and feelgood quality would have combined to make it a shoe-in; the less generous among us would’ve tagged it as “Oscar bait.” But the love for \u003cem>The Power of the Dog \u003c/em>has proven consistently strong and hasn’t yet flagged.\u003c/p>\n\u003ch3>4. Could \u003cem>Flee \u003c/em>go three for three?\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=wgj7DUEtfg0\u003c/p>\n\u003cp>The moving Danish film \u003cem>Flee \u003c/em>is both a documentary and an animated feature. It’s the tale of a young man who fled Afghanistan with his family as a boy, and who has spent his life guarding various secrets ever since. This morning it received nods for best doc, best animated feature and best international feature.\u003c/p>\n\u003cp>While a sweep is unlikely, given the competition, the trifecta of noms at least means that more people will get to see this excellent film. The best shot it’s got of a win is in best documentary, but it’s up against the beautiful \u003cem>Summer of Soul.\u003c/em>\u003c/p>\n\u003ch3>5. How to get better Oscars ceremony ratings? Two words: Be. ‘Yoncé.\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=4wYdZi3tFJ4\u003c/p>\n\u003cp>It’s no secret that the Oscars telecast has gotten lousy viewership over the past few years. The nomination of “Be Alive” from \u003cem>King Richard\u003c/em> for best original song, however, raises the possibility of a live performance by Beyoncé. If even a small percentage of the Hive tunes in for that, and/or for a performance of “No Time to Die” by Billie Eilish—ratings will get a bump. (The other best song nominees include tunes by okay-boomer favorites like Diane Warren and Van Morrison.)\u003c/p>\n\u003cp>\u003cem>Encanto\u003c/em>‘s “Dos Oruguitas” got a nod, as well. While it’s a beautiful song, it likely won’t send the droves of TikTokers who’ve been lip-syncing to the movie’s other, earwormier songs to their TV sets on Oscar night. (Justice for “Surface Pressure”!)\u003c/p>\n\u003ch3>6. Don’t look now, but \u003cem>Don’t Look Up\u003c/em> did well\u003c/h3>\n\u003cp>[aside postid='arts_13909095']Critics split on Adam McKay’s broad, scattershot, omnidirectional satire that attempted to turn a meteor speeding toward Earth into a metaphor for the slow, inexorable and devastating cost of \u003cem>human-caused \u003c/em>climate change. But the Academy ate it up, and lavished it with 4 nominations, including best picture, best original screenplay, best editing and best original score. And while it joins the ranks of films nominated for best picture but not best director, the film’s makers and its fans will always be able to point to these nominations.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>(See above, in re: Oscars’ status as measure of merit.)\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=6+quick+takeaways+from+this+year%27s+Oscar+nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No, the Oscars are not a true measure of merit; they never have been. Yes, they’re a popularity contest, thanks to a system that can and does get gamed by expensive media campaigns. And yes, they’re just an excuse for an industry teeming with self-congratulatory personalities to lavishly congratulate itself.\u003c/p>\n\u003cp>Given all that, at the end of the day—yes, they’re fun. They’re fun to gawk at, fun to argue over and capable, under the right circumstances, of doing some actual good. A nomination can help audiences find a smaller movie they might have otherwise overlooked.\u003c/p>\n\u003cp>Some of you might object to treating the Oscars like a horserace. Some of you are wrong; that’s all the Oscars are. And with this morning’s nominations, the race is on. Here’s six things that leapt out:\u003c/p>\n\u003ch3>1. More Oscar voters = more diversity\u003c/h3>\n\u003cp>Nearly 9,500 members of the Academy of Motion Picture Arts and Sciences are eligible to cast votes this year—that’s a more than 30% increase in voting membership since the 2016 #OscarsSoWhite movement drove AMPAS to take efforts to make its voting pool younger and more diverse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This year, of the acting categories, only supporting actor remains #Sowhite, with Ciarán Hinds (\u003cem>Belfast\u003c/em>), Troy Kotsur (\u003cem>CODA\u003c/em>), Jesse Plemmons (\u003cem>The Power of the Dog\u003c/em>), Kodi Smit-McPhee (\u003cem>The Power of the Dog\u003c/em>) and J.K. Simmons (\u003cem>Being the Ricardos\u003c/em>) nudging out, among others, the blistering, unpredictable performance of Colman Domingo in \u003cem>Zola\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simmons has won in this category before, for \u003cem>Whiplash\u003c/em>, but this is the first nomination for the other four. Smart money’s on Smit-McPhee, whose performance is an extended act of stealth warfare.\u003c/p>\n\u003cp>The lead actor category is dominated by people of color, including a surprising nomination for Javier Bardem (\u003cem>Being the Ricardos\u003c/em>), and much-less-surprising nods for Will Smith (\u003cem>King Richard\u003c/em>) and Denzel Washington (\u003cem>The Tragedy of Macbeth\u003c/em>). And although Benedict Cumberbatch (\u003cem>The Power of the Dog\u003c/em>) seemed an early lock-on favorite, and Andrew Garfield’s nomination for \u003cem>Tick, Tick … Boom! \u003c/em>warms the hearts of musical-lovers, this is Denzel’s category to lose.\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/ptqe7s6pO7g'\n title='//www.youtube.com/embed/ptqe7s6pO7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The actress categories are all over the map, and generated some of the true surprises of the morning.\u003c/p>\n\u003cp>For supporting actress, everyone has been talking about Ariana DeBose for \u003cem>West Side Story \u003c/em>and Kirsten Dunst for \u003cem>The Power of the Dog\u003c/em>. The Judi Dench nomination for \u003cem>Belfast\u003c/em>—making her the oldest woman ever nominated in the supporting actress category—testifies to the fact that the Oscar voting pool still contains some of the old guard. Jessie Buckley’s nomination for \u003cem>The Lost Daughter\u003c/em> hadn’t been seriously tossed around among Oscar watchers, but her performance as Olivia Colman’s younger self in that film is crucial to understanding how Colman’s character became as damaged as she is. And that sound you heard when Aunjanue Ellis’ name was announced for \u003cem>King Richard\u003c/em> was a vast number of people who’ve been watching this excellent actress putting in the work for decades shouting, “Finally!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The lead actress category was full of previous nominees—Jessica Chastain for \u003cem>The Eyes of Tammy Faye\u003c/em>, Olivia Colman for \u003cem>The Lost Daughter\u003c/em>, Nicole Kidman for \u003cem>Being the Ricardos\u003c/em>, and Penelope Cruz for \u003cem>Parallel Mothers\u003c/em>. But while the Cruz nod wasn’t widely predicted, she does provide Almodovar’s baby-switching melodrama with a grounded quality it otherwise lacks. Maybe the biggest surprise of the morning, (besides Ruth Negga’s snub for \u003cem>Passing\u003c/em>), came from the category’s sole never-before-nominated actress: Kristen Stewart for \u003cem>Spencer\u003c/em>.\u003c/p>\n\u003cp>Stewart’s (literally) haunted performance in Pablo Larrain’s Diana biopic had a lot of buzz early on, but when she got overlooked by the BAFTAs, which generally act as a kind of Oscars bellwether, all that buzz faded away. Turns out she got counted out too early. Nevertheless, look for Kidman to stomp on the competition like they’re so many grapes under Lucy Ricardo’s bare feet.\u003c/p>\n\u003cp>As for best picture, the Japanese film\u003cem> Drive My Car\u003c/em> made it into the running, in addition to its nominations for best international feature, best directing and best adapted screenplay—just as \u003cem>Parasite\u003c/em> did, two years ago. Though beloved by critics, its moody, introspective tone and three-hour running time will likely combine to preclude a repeat of \u003cem>Parasite\u003c/em>‘s singular success.\u003c/p>\n\u003ch3>2. The dog? Is powerful!\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LRDPo0CHrko'\n title='//www.youtube.com/embed/LRDPo0CHrko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jane Campion’s \u003cem>The Power of the Dog \u003c/em>was the morning’s big winner, with 12 nominations, beating out \u003cem>Dune \u003c/em>(10 nominations), \u003cem>West Side Story \u003c/em>(8), \u003cem>Belfast \u003c/em>(7) and \u003cem>King Richard\u003c/em> (6).\u003c/p>\n\u003cp>Campion’s nomination for best director makes her the first woman who’s been nominated twice in that category. Should she win, as she is heavily favored to do, she will only be the third woman to do so.\u003c/p>\n\u003cp>It would also represent the first best picture win for Netflix—a major battle victory in the ongoing war between streaming and theaters.\u003c/p>\n\u003ch3>3. The big battle: Feelgood vs. Feeldark\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ja3PPOnJQ2k'\n title='//www.youtube.com/embed/Ja3PPOnJQ2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the race for best picture, it’s likely going to come down to a fight between two very different movies: Kenneth Branagh’s warmly nostalgic \u003cem>Belfast\u003c/em>, and Campion’s not-at-all-warm, acidic \u003cem>The Power of the Dog\u003c/em>.\u003c/p>\n\u003cp>Both Branagh’s semi-autobiographical, poignant remembrance of his youth during The Troubles in Northern Ireland, and Campion’s dispassionate autopsy of festering masculinity, prove deeply satisfying, albeit in widely divergent ways. \u003cem>Belfast \u003c/em>provides comfort, while \u003cem>The Power of the Dog\u003c/em> provides cathartic, steel-trap plotting.\u003c/p>\n\u003cp>Five years ago, Belfast’s strong performances, young narrator and feelgood quality would have combined to make it a shoe-in; the less generous among us would’ve tagged it as “Oscar bait.” But the love for \u003cem>The Power of the Dog \u003c/em>has proven consistently strong and hasn’t yet flagged.\u003c/p>\n\u003ch3>4. Could \u003cem>Flee \u003c/em>go three for three?\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wgj7DUEtfg0'\n title='//www.youtube.com/embed/wgj7DUEtfg0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The moving Danish film \u003cem>Flee \u003c/em>is both a documentary and an animated feature. It’s the tale of a young man who fled Afghanistan with his family as a boy, and who has spent his life guarding various secrets ever since. This morning it received nods for best doc, best animated feature and best international feature.\u003c/p>\n\u003cp>While a sweep is unlikely, given the competition, the trifecta of noms at least means that more people will get to see this excellent film. The best shot it’s got of a win is in best documentary, but it’s up against the beautiful \u003cem>Summer of Soul.\u003c/em>\u003c/p>\n\u003ch3>5. How to get better Oscars ceremony ratings? Two words: Be. ‘Yoncé.\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4wYdZi3tFJ4'\n title='//www.youtube.com/embed/4wYdZi3tFJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s no secret that the Oscars telecast has gotten lousy viewership over the past few years. The nomination of “Be Alive” from \u003cem>King Richard\u003c/em> for best original song, however, raises the possibility of a live performance by Beyoncé. If even a small percentage of the Hive tunes in for that, and/or for a performance of “No Time to Die” by Billie Eilish—ratings will get a bump. (The other best song nominees include tunes by okay-boomer favorites like Diane Warren and Van Morrison.)\u003c/p>\n\u003cp>\u003cem>Encanto\u003c/em>‘s “Dos Oruguitas” got a nod, as well. While it’s a beautiful song, it likely won’t send the droves of TikTokers who’ve been lip-syncing to the movie’s other, earwormier songs to their TV sets on Oscar night. (Justice for “Surface Pressure”!)\u003c/p>\n\u003ch3>6. Don’t look now, but \u003cem>Don’t Look Up\u003c/em> did well\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Critics split on Adam McKay’s broad, scattershot, omnidirectional satire that attempted to turn a meteor speeding toward Earth into a metaphor for the slow, inexorable and devastating cost of \u003cem>human-caused \u003c/em>climate change. But the Academy ate it up, and lavished it with 4 nominations, including best picture, best original screenplay, best editing and best original score. And while it joins the ranks of films nominated for best picture but not best director, the film’s makers and its fans will always be able to point to these nominations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(See above, in re: Oscars’ status as measure of merit.)\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=6+quick+takeaways+from+this+year%27s+Oscar+nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At 15, Kamila Valieva’s hobbies include \u003ca href=\"https://olympics.com/beijing-2022/olympic-games/en/results/figure-skating/athlete-profile-n1057109-kamila-valieva.htm\" target=\"_blank\" rel=\"noopener noreferrer\">dancing, drawing\u003c/a>—and setting world records.\u003c/p>\n\u003cp>On Monday, the teenage elite athlete landed one of the hardest jumps in figure skating—a jump that is so difficult, no other woman had ever landed it at an Olympics before—then she did it a second time.\u003c/p>\n\u003cp>The 15-year-old skater for the Russian Olympic Committee team landed a storied quadruple jump twice during the free skate portion of the team event Monday. Her performance helped her team nab the gold medal, the United States won silver, and Japan took the bronze medal.\u003c/p>\n\u003cp>[aside postid='news_11651002']Quadruple jumps require at least four, but fewer than five, revolutions and although they’ve become increasingly a staple in elite men’s figure skating, one had never been successfully accomplished by a woman at the Olympics before Valieva’s showing in Beijing.\u003c/p>\n\u003cp>She landed a quad salchow first, a jump in which a skater must lift off the ice with the inside edge of one skate, execute four revolutions in midair, then land cleanly on the outside edge of their other foot. Next, Valieva completed a quad toe loop with a triple-toe combination. She attempted a third quad but fell on the landing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Valieva performed a difficult triple axle as well, making her only the fourth woman to ever land that jump at a Winter Olympics.\u003c/p>\n\u003cp>Valieva also completed quad jumps during the \u003ca href=\"https://olympics.com/en/news/skating-kamila-valieva-record-rostelecom-cup\" target=\"_blank\" rel=\"noopener noreferrer\">ISU Grand Prix Rostelecom Cup \u003c/a>in November of last year, where she set a world record score. She holds nine world records in the sport.\u003c/p>\n\u003cp>https://twitter.com/ISU_Figure/status/1464663616183955456\u003c/p>\n\u003cp>\u003cstrong>Other news from the Olympics this weekend\u003c/strong>\u003c/p>\n\u003cp>American alpine ski star Mikaela Shiffrin suffered a rare fall during the giant slalom, knocking her out of one of her best events. She still has \u003ca href=\"https://www.npr.org/2022/02/06/1078715845/mikaela-shiffrin-out-of-giant-slalom-event-after-fall\" target=\"_blank\" rel=\"noopener noreferrer\">four more Olympic events.\u003c/a>\u003c/p>\n\u003cp>“The snow was just incredible to ski on. Oh my gosh, it’s just really nice, but if you do any small errors, you really can’t get away with it,” Shiffrin said after the fall. “As you can see, I got the worst of it on that turn.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.npr.org/2022/02/07/1078735278/beijing-olympics-fake-snow-ski-snowboard\" target=\"_blank\" rel=\"noopener noreferrer\">snow is all man-made this year\u003c/a>, and athletes are getting adjusted to its feel and consistency, all while competing on the highest levels.\u003c/p>\n\u003cp>It’s relatively novel now, but artificial snow at the Olympics might soon be entirely the norm. Past Olympics in Pyeongchang, Sochi and Vancouver deployed artificial snow after unseasonably un-snowy weather. As climate change intensifies, experts say human-made snow is likely going to be a part of all future Olympic alpine events.\u003c/p>\n\u003cp>[aside postid='arts_13908958']Members of the U.S. figure skating team celebrated their silver medals in the team event without \u003ca href=\"https://www.npr.org/2022/02/07/1078732688/u-s-figure-skate-vincent-zhou-tests-positive-at-2022-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">American men’s figure skater Vincent Zhou\u003c/a>, who tested positive for COVID-19, officials announced Monday. Zhou helped earn the medals by competing in the team event on Sunday, before his positive test. He announced Monday that he will be unable to compete in the men’s competition and will have to isolate until he tests negative on two consecutive PCR tests.\u003c/p>\n\u003cp>Chinese tennis star Peng Shuai appeared in a carefully managed interview during the Olympics last week, her first sit-down interview since last November when \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2021/11/03/1051873031/chinese-tennis-athlete-accuses-former-top-communist-party-official-of-sexual-ass\" target=\"_blank\" rel=\"noopener noreferrer\">she accused retired Chinese Vice Premier Zhang Gaoli\u003c/a> of sexual assault during an on-and-off-again relationship. In the interview with French sports magazine\u003cem> L’Equipe\u003c/em>, Shuai denied accusing Zhang of assault and announced she is retiring from professional tennis.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2022/02/06/1078729140/peng-shuai-the-chinese-tennis-star-denies-sexual-assault-by-government-leader\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Emily Feng reports\u003c/a>, fans and officials globally became concerned about Peng’s personal safety and freedom after she published her accusation against Zhang on social media, then disappeared for a while and couldn’t be reached by tennis officials outside China. Zhang is a top Communist Party official and was crucial in securing Beijing’s bid for the 2022 Winter Olympic Games.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-02-07#shes-the-1st-woman-to-land-a-quad-in-olympic-history-and-shes-only-15\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\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=At+15%2C+Kamila+Valieva+just+became+the+1st+woman+to+land+a+quad+in+Olympic+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 15, Kamila Valieva’s hobbies include \u003ca href=\"https://olympics.com/beijing-2022/olympic-games/en/results/figure-skating/athlete-profile-n1057109-kamila-valieva.htm\" target=\"_blank\" rel=\"noopener noreferrer\">dancing, drawing\u003c/a>—and setting world records.\u003c/p>\n\u003cp>On Monday, the teenage elite athlete landed one of the hardest jumps in figure skating—a jump that is so difficult, no other woman had ever landed it at an Olympics before—then she did it a second time.\u003c/p>\n\u003cp>The 15-year-old skater for the Russian Olympic Committee team landed a storied quadruple jump twice during the free skate portion of the team event Monday. Her performance helped her team nab the gold medal, the United States won silver, and Japan took the bronze medal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Quadruple jumps require at least four, but fewer than five, revolutions and although they’ve become increasingly a staple in elite men’s figure skating, one had never been successfully accomplished by a woman at the Olympics before Valieva’s showing in Beijing.\u003c/p>\n\u003cp>She landed a quad salchow first, a jump in which a skater must lift off the ice with the inside edge of one skate, execute four revolutions in midair, then land cleanly on the outside edge of their other foot. Next, Valieva completed a quad toe loop with a triple-toe combination. She attempted a third quad but fell on the landing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Valieva performed a difficult triple axle as well, making her only the fourth woman to ever land that jump at a Winter Olympics.\u003c/p>\n\u003cp>Valieva also completed quad jumps during the \u003ca href=\"https://olympics.com/en/news/skating-kamila-valieva-record-rostelecom-cup\" target=\"_blank\" rel=\"noopener noreferrer\">ISU Grand Prix Rostelecom Cup \u003c/a>in November of last year, where she set a world record score. She holds nine world records in the sport.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cstrong>Other news from the Olympics this weekend\u003c/strong>\u003c/p>\n\u003cp>American alpine ski star Mikaela Shiffrin suffered a rare fall during the giant slalom, knocking her out of one of her best events. She still has \u003ca href=\"https://www.npr.org/2022/02/06/1078715845/mikaela-shiffrin-out-of-giant-slalom-event-after-fall\" target=\"_blank\" rel=\"noopener noreferrer\">four more Olympic events.\u003c/a>\u003c/p>\n\u003cp>“The snow was just incredible to ski on. Oh my gosh, it’s just really nice, but if you do any small errors, you really can’t get away with it,” Shiffrin said after the fall. “As you can see, I got the worst of it on that turn.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.npr.org/2022/02/07/1078735278/beijing-olympics-fake-snow-ski-snowboard\" target=\"_blank\" rel=\"noopener noreferrer\">snow is all man-made this year\u003c/a>, and athletes are getting adjusted to its feel and consistency, all while competing on the highest levels.\u003c/p>\n\u003cp>It’s relatively novel now, but artificial snow at the Olympics might soon be entirely the norm. Past Olympics in Pyeongchang, Sochi and Vancouver deployed artificial snow after unseasonably un-snowy weather. As climate change intensifies, experts say human-made snow is likely going to be a part of all future Olympic alpine events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Members of the U.S. figure skating team celebrated their silver medals in the team event without \u003ca href=\"https://www.npr.org/2022/02/07/1078732688/u-s-figure-skate-vincent-zhou-tests-positive-at-2022-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">American men’s figure skater Vincent Zhou\u003c/a>, who tested positive for COVID-19, officials announced Monday. Zhou helped earn the medals by competing in the team event on Sunday, before his positive test. He announced Monday that he will be unable to compete in the men’s competition and will have to isolate until he tests negative on two consecutive PCR tests.\u003c/p>\n\u003cp>Chinese tennis star Peng Shuai appeared in a carefully managed interview during the Olympics last week, her first sit-down interview since last November when \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2021/11/03/1051873031/chinese-tennis-athlete-accuses-former-top-communist-party-official-of-sexual-ass\" target=\"_blank\" rel=\"noopener noreferrer\">she accused retired Chinese Vice Premier Zhang Gaoli\u003c/a> of sexual assault during an on-and-off-again relationship. In the interview with French sports magazine\u003cem> L’Equipe\u003c/em>, Shuai denied accusing Zhang of assault and announced she is retiring from professional tennis.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2022/02/06/1078729140/peng-shuai-the-chinese-tennis-star-denies-sexual-assault-by-government-leader\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Emily Feng reports\u003c/a>, fans and officials globally became concerned about Peng’s personal safety and freedom after she published her accusation against Zhang on social media, then disappeared for a while and couldn’t be reached by tennis officials outside China. Zhang is a top Communist Party official and was crucial in securing Beijing’s bid for the 2022 Winter Olympic Games.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-02-07#shes-the-1st-woman-to-land-a-quad-in-olympic-history-and-shes-only-15\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\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=At+15%2C+Kamila+Valieva+just+became+the+1st+woman+to+land+a+quad+in+Olympic+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why a 20-year Effort by the NFL Hasn't Led to More Minorities in Top Coaching Jobs",
"headTitle": "Why a 20-year Effort by the NFL Hasn’t Led to More Minorities in Top Coaching Jobs | KQED",
"content": "\u003cp>Nearly two decades ago, with few coaches of color in the NFL, the league knew that something had to be done.\u003c/p>\n\u003cp>Spurred on by the Pittsburgh Steelers’ Dan Rooney—then the team’s owner and a longtime trailblazer for diversity in the league—the National Football League adopted a policy that now colloquially bears his name. The Rooney Rule, which took effect in 2003, sought to correct inequities at the top of pro football’s hierarchy by requiring teams to interview minority candidates for head coaching vacancies.\u003c/p>\n\u003cp>It has been nearly 20 years, and the NFL has lost yardage. As the league prepares for the Super Bowl later this month, Mike Tomlin of the Steelers is the only Black head coach. The \u003ca href=\"https://www.npr.org/2022/02/02/1077365060/washington-commanders-football-team-new-name\" target=\"_blank\" rel=\"noopener noreferrer\">Washington Commanders\u003c/a>‘ Ron Rivera, who is Latino, and the New York Jets’ Robert Saleh, of Lebanese descent, are the only other nonwhites in top coaching positions among the league’s 32 franchises.\u003c/p>\n\u003cp>Brian Flores, who led the Miami Dolphins to their first back-to-back winning seasons in decades, and David Culley, who had been the Houston Texans’ head coach, were fired in January. Both are Black. Earlier this week, Flores \u003ca href=\"https://www.espn.com/nfl/story/_/id/33194862/brian-flores-sues-nfl-others-former-miami-dolphins-coach-alleges-racism-hiring-practices\" target=\"_blank\" rel=\"noopener noreferrer\">filed a class action suit\u003c/a> against the NFL, the Dolphins, the Denver Broncos and the New York Giants. His lawsuit alleges discrimination in his firing and in his interviews for the head coaching jobs with the other teams.\u003c/p>\n\u003cp>Yesterday, news broke that the San Francisco 49ers had fired assistant head coach and tight ends coach Jon Embree, who is Black. Former NFL player Solomon Wilcots reported that the team let Embree go after he refused to take a 60% pay cut. Embree had been with the Niners since 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/SolomonsWisdom/status/1488931331220377606\u003c/p>\n\u003cp>Meanwhile, top coaching positions that opened up at the end of the season are rapidly being filled—by more white candidates. The Bears recently hired Matt Eberflus, the Broncos picked up Nathaniel Hackett and the Giants brought on Brian Daboll. Some Black candidates are thought to be in serious contention for the few slots still up for grabs. But any such hires would barely move the needle on the NFL’s dismal diversity numbers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908985 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-800x469.png\" alt=\"\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-800x469.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-1020x598.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-768x450.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-1536x901.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM.png 1750w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>It’s not the rule, it’s the people\u003c/h3>\n\u003cp>Doug Williams, the first African American quarterback to win a Super Bowl, tells NPR that he would give the Rooney Rule a D.\u003c/p>\n\u003cp>“But it’s not the rule that’s not working, it’s the people,” says Williams, who is now senior adviser to the Washington Commanders. “It’s not just football, it’s America as a whole.”\u003c/p>\n\u003cp>Williams and others say they are tired of watching good, qualified head coach candidates of color passed over—year after year.\u003c/p>\n\u003cp>Take Eric Bieniemy. He spent eight years as an NFL running back in the 1990s before moving to the sidelines. As offensive coordinator for the Kansas City Chiefs, he has helped propel one of the league’s top-ranked teams for the last four seasons. The Chiefs lost by three points in overtime to the Super Bowl-bound Cincinnati Bengals. A Chiefs win would have had the team playing for a championship for the third time in as many years. Yet, in nearly a dozen interviews across the league over the past few years, Bieniemy hasn’t managed to garner a head coaching position.\u003c/p>\n\u003cp>[aside postid='arts_13863975']John Feinstein, author of \u003cem>Raise a Fist, Take a Knee: Race and the Illusion of Progress in Modern Sports, \u003c/em>tells NPR that in an interview for the book, Bieniemy told him\u003cem> “\u003c/em>some of those guys were legitimately looking at me as a possible head coach. Other guys were just, you know, carrying out their Rooney Rule … obligations, and you can tell, when you walk into the room, which is which.”\u003c/p>\n\u003cp>Jim Caldwell has had greater success in his coaching career—until recently. He’s been on the coaching staff of two Super Bowl champion clubs and was head coach of the Indianapolis Colts from 2009 to 2011 and the Detroit Lions from 2014 to 2017. Despite his resume, Caldwell has been passed over for head coaching jobs with several franchises since he was let go by the Lions five years ago.\u003c/p>\n\u003cp>Jonathan Beane, the NFL’s chief diversity and inclusion officer, acknowledges that the Rooney Rule has fallen short of its ultimate goal, but he credits the policy with getting more minority candidates in front of hiring panels. “When you have more candidates from different backgrounds that are part of the process and actually are in the room to compete for roles, the opportunity of a diverse candidate getting hired goes up,” he tells NPR.\u003c/p>\n\u003cp>Feinstein says the problem with that thinking is that too often the rule is simply about checking a box to prove compliance. “I think for a lot of the NFL, the Rooney Rule is simply there so they can say, ‘Hey, we interviewed Brian Flores; hey, we interviewed Eric Bieniemy,'” he says. “And until that attitude changes, you can require five [minority candidate] interviews for every opening” and it still won’t make a difference.\u003c/p>\n\u003cfigure id=\"attachment_13908959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pittsburgh Steelers head coach Mike Tomlin watches from the sideline during the first half of an NFL wild-card playoff game against the Kansas City Chiefs in January. Tomlin is currently the league’s only Black head coach. \u003ccite>(AP Photo/Ed Zurga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>There are few owners of color in the NFL\u003c/h3>\n\u003cp>The NFL has only two owners of color, Kim Pegula, who is Asian American and co-owns the Buffalo Bills with her billionaire husband, and Jacksonville Jaguars owner Shahid Khan, who was born in Pakistan.\u003c/p>\n\u003cp>Many of the owners simply perceive a white coach as the safe choice, says Jodi Balsam, a former counsel for operations and litigation at the NFL.\u003c/p>\n\u003cp>“I don’t think there’s a single NFL owner out there who thinks to himself, ‘I won’t hire somebody who’s Black,'” Balsam tells NPR. But there are “risk averse” owners, she concedes. “When it comes to hiring at the senior-most levels, they tend to revert to what they’re comfortable with … and they perceive hiring somebody who’s Black as risky.”\u003c/p>\n\u003cp>[aside postid='arts_13905474']To be sure, the current record on minority hires for the top coaching job is a low-water mark for the league. Things were better at the end of the 2010-2011 season, and again in 2017-2018, with a quarter of the head coaching positions held by minorities. But there have been other lows, too: the Detroit Lions were fined $200,000 for violating the policy soon after it took effect. And nearly a decade later, in 2012, there were no minority hires to fill a slew of head coach vacancies and general manager positions.\u003c/p>\n\u003cp>The Rooney Rule has been tweaked and expanded since it was introduced in 2003. Now it requires teams to interview at least two external minority candidates for head coaching jobs and one external minority candidate for offensive and defensive coordinator positions. After much discussion, a provision was also approved that grants teams who hire minority candidates a pair of future third-round draft picks. And owners agreed to eliminate clauses that prevented coordinators already under contract from interviewing for head coaching jobs with other teams. Top front office jobs, such as general manager, were also included under the rule.\u003c/p>\n\u003cp>The NFL commissioner has \u003ca href=\"https://www.acslaw.org/wp-content/uploads/old-uploads/originals/documents/Proxmire_Issue_Brief.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">wide latitude\u003c/a> in meting out fines to teams that violate the policy. But whatever penalty might be imposed, it would likely be overshadowed by the public relations hit a franchise would take.\u003c/p>\n\u003cp>The Flores suit and the current round of hiring have placed renewed scrutiny on teams. It comes after the league struggled to respond to “take a knee” protests against police brutality that began in 2016. NFL Commissioner Roger Goodell initially said players had to stand during the national anthem. Years later, he backtracked, offering an implicit apology to former San Francisco 49ers quarterback Colin Kaepernick, who was effectively shut out of the league after becoming the public face of those protests. More recently, Jon Gruden was \u003ca href=\"https://www.npr.org/2021/10/12/1045182590/raiders-coach-jon-gruden-resigns-after-reports-of-derogatory-language-in-emails\" target=\"_blank\" rel=\"noopener noreferrer\">forced to resign\u003c/a> as head coach of the Las Vegas Raiders after years of emails he’d written surfaced that contained racist, misogynistic and homophobic language.\u003c/p>\n\u003cfigure id=\"attachment_13908962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908962\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eli Harold (from left), Colin Kaepernick and Eric Reid of the San Francisco 49ers kneel in protest during the national anthem prior to a game against the Arizona Cardinals at Levi’s Stadium on Oct. 6, 2016, in Santa Clara. \u003ccite>(Thearon W. Henderson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the racial reckoning has heightened everybody’s awareness for this and made it an open discussion,” says Richard Lapchick, the director of the Institute for Diversity and Ethics in Sport at the University of Central Florida. “But just discussing it doesn’t change anything.”\u003c/p>\n\u003ch3>The NFL and NBA have different cultures\u003c/h3>\n\u003cp>For a study in contrasts, compare the NFL’s record since the Rooney Rule went into effect to what’s happened in the National Basketball Association over the same period. In both leagues, about 70% of the players are Black. But the NFL’s one African American head coach represents barely 3% of those top slots. The NBA this season has \u003ca href=\"https://www.nytimes.com/2021/11/01/sports/basketball/nba-black-coaches-diversity.html?partner=slack&smid=sl-share\" target=\"_blank\" rel=\"noopener noreferrer\">13 Black head coaches\u003c/a> spread among 30 teams—or 43%. (The NBA’s figure has has been as high as 48% in the 2012-2013 season and as low as 23% in 2020-2021.)\u003c/p>\n\u003cp>Many credit the leadership of the late David Stern, who was NBA commissioner for three decades until 2014, for shaping an inclusive culture in the basketball league.\u003c/p>\n\u003cp>Stern was “very aggressive about letting owners know that he thought minority leadership in the league was very important,” Feinstein says.\u003c/p>\n\u003cp>[aside postid='arts_13884595']That didn’t happen overnight. And it was helped along by a “very different” relationship between owners and players, says Scott Brooks, the director of research at the Global Sport Institute at Arizona State University.\u003c/p>\n\u003cp>Brooks says the NBA has managed a cultural shift that has so far eluded the NFL.\u003c/p>\n\u003cp>While the NFL is focusing on numbers, “the NBA, they’re beyond numbers,” he tells NPR. “They’re thinking about the relationships with the athletes. How this makes the athletes feel.”\u003c/p>\n\u003cp>He says it also helps that on-court legend Michael Jordan is among several owners and co-owners of color in the league.\u003c/p>\n\u003ch3>Problems in the NFL pipeline\u003c/h3>\n\u003cp>The road to NFL head coach can be a long and winding one. But there are some common paths. Consider the teams in this year’s Super Bowl: The Los Angeles Rams’ head coach Sean McVay and the Cincinnati Bengals’ Zac Taylor are both white and have similar resumes.\u003c/p>\n\u003cp>McVay and Taylor played Division I college football and held a variety of positions on their way to the head coach job — most notably as offensive coordinators, a position widely seen as a conduit to the top coaching job. In recent weeks, too, two of the three hires for head coaching positions, Hackett and Daboll, previously worked as offensive coordinators. Notably, \u003ca href=\"https://www.theatlantic.com/ideas/archive/2020/01/nfl-owners-have-problem-coaches-color/604771/\" target=\"_blank\" rel=\"noopener noreferrer\">few minorities hold key offensive coordinator positions\u003c/a>.\u003c/p>\n\u003cp>For those coaches who are former players, more quarterbacks—from either the college or the pro level—have managed to make the switch and get on a career path to the top.\u003c/p>\n\u003cp>African Americans, however, have long been discouraged from becoming quarterbacks—a position that has traditionally been dominated by white players. “In the ’60s and ’70s, almost every Black quarterback coming out of college was told to change positions,” says Feinstein\u003cem>. “\u003c/em>The excuse usually was because you’re fast and the underlying notion was, well, because you’re not smart enough.”\u003c/p>\n\u003cp>That’s changing, though, with an influx of Black starting quarterbacks in the league, says Brooks. “Will that give us more Blacks and nonwhites in these other positions? … That remains to be seen.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Beane, the NFL’s diversity officer, is optimistic that the recent expansion of the Rooney Rule will have an impact on the number of minorities on the sidelines. “I have to be hopeful,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. 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+a+20-year+effort+by+the+NFL+hasn%27t+led+to+more+minorities+in+top+coaching+jobs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly two decades ago, with few coaches of color in the NFL, the league knew that something had to be done.\u003c/p>\n\u003cp>Spurred on by the Pittsburgh Steelers’ Dan Rooney—then the team’s owner and a longtime trailblazer for diversity in the league—the National Football League adopted a policy that now colloquially bears his name. The Rooney Rule, which took effect in 2003, sought to correct inequities at the top of pro football’s hierarchy by requiring teams to interview minority candidates for head coaching vacancies.\u003c/p>\n\u003cp>It has been nearly 20 years, and the NFL has lost yardage. As the league prepares for the Super Bowl later this month, Mike Tomlin of the Steelers is the only Black head coach. The \u003ca href=\"https://www.npr.org/2022/02/02/1077365060/washington-commanders-football-team-new-name\" target=\"_blank\" rel=\"noopener noreferrer\">Washington Commanders\u003c/a>‘ Ron Rivera, who is Latino, and the New York Jets’ Robert Saleh, of Lebanese descent, are the only other nonwhites in top coaching positions among the league’s 32 franchises.\u003c/p>\n\u003cp>Brian Flores, who led the Miami Dolphins to their first back-to-back winning seasons in decades, and David Culley, who had been the Houston Texans’ head coach, were fired in January. Both are Black. Earlier this week, Flores \u003ca href=\"https://www.espn.com/nfl/story/_/id/33194862/brian-flores-sues-nfl-others-former-miami-dolphins-coach-alleges-racism-hiring-practices\" target=\"_blank\" rel=\"noopener noreferrer\">filed a class action suit\u003c/a> against the NFL, the Dolphins, the Denver Broncos and the New York Giants. His lawsuit alleges discrimination in his firing and in his interviews for the head coaching jobs with the other teams.\u003c/p>\n\u003cp>Yesterday, news broke that the San Francisco 49ers had fired assistant head coach and tight ends coach Jon Embree, who is Black. Former NFL player Solomon Wilcots reported that the team let Embree go after he refused to take a 60% pay cut. Embree had been with the Niners since 2017.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Meanwhile, top coaching positions that opened up at the end of the season are rapidly being filled—by more white candidates. The Bears recently hired Matt Eberflus, the Broncos picked up Nathaniel Hackett and the Giants brought on Brian Daboll. Some Black candidates are thought to be in serious contention for the few slots still up for grabs. But any such hires would barely move the needle on the NFL’s dismal diversity numbers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908985 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-800x469.png\" alt=\"\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-800x469.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-1020x598.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-768x450.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM-1536x901.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-03-at-3.01.07-PM.png 1750w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>It’s not the rule, it’s the people\u003c/h3>\n\u003cp>Doug Williams, the first African American quarterback to win a Super Bowl, tells NPR that he would give the Rooney Rule a D.\u003c/p>\n\u003cp>“But it’s not the rule that’s not working, it’s the people,” says Williams, who is now senior adviser to the Washington Commanders. “It’s not just football, it’s America as a whole.”\u003c/p>\n\u003cp>Williams and others say they are tired of watching good, qualified head coach candidates of color passed over—year after year.\u003c/p>\n\u003cp>Take Eric Bieniemy. He spent eight years as an NFL running back in the 1990s before moving to the sidelines. As offensive coordinator for the Kansas City Chiefs, he has helped propel one of the league’s top-ranked teams for the last four seasons. The Chiefs lost by three points in overtime to the Super Bowl-bound Cincinnati Bengals. A Chiefs win would have had the team playing for a championship for the third time in as many years. Yet, in nearly a dozen interviews across the league over the past few years, Bieniemy hasn’t managed to garner a head coaching position.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>John Feinstein, author of \u003cem>Raise a Fist, Take a Knee: Race and the Illusion of Progress in Modern Sports, \u003c/em>tells NPR that in an interview for the book, Bieniemy told him\u003cem> “\u003c/em>some of those guys were legitimately looking at me as a possible head coach. Other guys were just, you know, carrying out their Rooney Rule … obligations, and you can tell, when you walk into the room, which is which.”\u003c/p>\n\u003cp>Jim Caldwell has had greater success in his coaching career—until recently. He’s been on the coaching staff of two Super Bowl champion clubs and was head coach of the Indianapolis Colts from 2009 to 2011 and the Detroit Lions from 2014 to 2017. Despite his resume, Caldwell has been passed over for head coaching jobs with several franchises since he was let go by the Lions five years ago.\u003c/p>\n\u003cp>Jonathan Beane, the NFL’s chief diversity and inclusion officer, acknowledges that the Rooney Rule has fallen short of its ultimate goal, but he credits the policy with getting more minority candidates in front of hiring panels. “When you have more candidates from different backgrounds that are part of the process and actually are in the room to compete for roles, the opportunity of a diverse candidate getting hired goes up,” he tells NPR.\u003c/p>\n\u003cp>Feinstein says the problem with that thinking is that too often the rule is simply about checking a box to prove compliance. “I think for a lot of the NFL, the Rooney Rule is simply there so they can say, ‘Hey, we interviewed Brian Flores; hey, we interviewed Eric Bieniemy,'” he says. “And until that attitude changes, you can require five [minority candidate] interviews for every opening” and it still won’t make a difference.\u003c/p>\n\u003cfigure id=\"attachment_13908959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ap22017084592848_wide-e7cc0a42b3b5ce4e7d357542e8a3291e8f9839f7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pittsburgh Steelers head coach Mike Tomlin watches from the sideline during the first half of an NFL wild-card playoff game against the Kansas City Chiefs in January. Tomlin is currently the league’s only Black head coach. \u003ccite>(AP Photo/Ed Zurga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>There are few owners of color in the NFL\u003c/h3>\n\u003cp>The NFL has only two owners of color, Kim Pegula, who is Asian American and co-owns the Buffalo Bills with her billionaire husband, and Jacksonville Jaguars owner Shahid Khan, who was born in Pakistan.\u003c/p>\n\u003cp>Many of the owners simply perceive a white coach as the safe choice, says Jodi Balsam, a former counsel for operations and litigation at the NFL.\u003c/p>\n\u003cp>“I don’t think there’s a single NFL owner out there who thinks to himself, ‘I won’t hire somebody who’s Black,'” Balsam tells NPR. But there are “risk averse” owners, she concedes. “When it comes to hiring at the senior-most levels, they tend to revert to what they’re comfortable with … and they perceive hiring somebody who’s Black as risky.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be sure, the current record on minority hires for the top coaching job is a low-water mark for the league. Things were better at the end of the 2010-2011 season, and again in 2017-2018, with a quarter of the head coaching positions held by minorities. But there have been other lows, too: the Detroit Lions were fined $200,000 for violating the policy soon after it took effect. And nearly a decade later, in 2012, there were no minority hires to fill a slew of head coach vacancies and general manager positions.\u003c/p>\n\u003cp>The Rooney Rule has been tweaked and expanded since it was introduced in 2003. Now it requires teams to interview at least two external minority candidates for head coaching jobs and one external minority candidate for offensive and defensive coordinator positions. After much discussion, a provision was also approved that grants teams who hire minority candidates a pair of future third-round draft picks. And owners agreed to eliminate clauses that prevented coordinators already under contract from interviewing for head coaching jobs with other teams. Top front office jobs, such as general manager, were also included under the rule.\u003c/p>\n\u003cp>The NFL commissioner has \u003ca href=\"https://www.acslaw.org/wp-content/uploads/old-uploads/originals/documents/Proxmire_Issue_Brief.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">wide latitude\u003c/a> in meting out fines to teams that violate the policy. But whatever penalty might be imposed, it would likely be overshadowed by the public relations hit a franchise would take.\u003c/p>\n\u003cp>The Flores suit and the current round of hiring have placed renewed scrutiny on teams. It comes after the league struggled to respond to “take a knee” protests against police brutality that began in 2016. NFL Commissioner Roger Goodell initially said players had to stand during the national anthem. Years later, he backtracked, offering an implicit apology to former San Francisco 49ers quarterback Colin Kaepernick, who was effectively shut out of the league after becoming the public face of those protests. More recently, Jon Gruden was \u003ca href=\"https://www.npr.org/2021/10/12/1045182590/raiders-coach-jon-gruden-resigns-after-reports-of-derogatory-language-in-emails\" target=\"_blank\" rel=\"noopener noreferrer\">forced to resign\u003c/a> as head coach of the Las Vegas Raiders after years of emails he’d written surfaced that contained racist, misogynistic and homophobic language.\u003c/p>\n\u003cfigure id=\"attachment_13908962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908962\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/gettyimages-613006826_custom-f97a5013d911721d6d056c2efd00c749ed8f41c5-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eli Harold (from left), Colin Kaepernick and Eric Reid of the San Francisco 49ers kneel in protest during the national anthem prior to a game against the Arizona Cardinals at Levi’s Stadium on Oct. 6, 2016, in Santa Clara. \u003ccite>(Thearon W. Henderson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the racial reckoning has heightened everybody’s awareness for this and made it an open discussion,” says Richard Lapchick, the director of the Institute for Diversity and Ethics in Sport at the University of Central Florida. “But just discussing it doesn’t change anything.”\u003c/p>\n\u003ch3>The NFL and NBA have different cultures\u003c/h3>\n\u003cp>For a study in contrasts, compare the NFL’s record since the Rooney Rule went into effect to what’s happened in the National Basketball Association over the same period. In both leagues, about 70% of the players are Black. But the NFL’s one African American head coach represents barely 3% of those top slots. The NBA this season has \u003ca href=\"https://www.nytimes.com/2021/11/01/sports/basketball/nba-black-coaches-diversity.html?partner=slack&smid=sl-share\" target=\"_blank\" rel=\"noopener noreferrer\">13 Black head coaches\u003c/a> spread among 30 teams—or 43%. (The NBA’s figure has has been as high as 48% in the 2012-2013 season and as low as 23% in 2020-2021.)\u003c/p>\n\u003cp>Many credit the leadership of the late David Stern, who was NBA commissioner for three decades until 2014, for shaping an inclusive culture in the basketball league.\u003c/p>\n\u003cp>Stern was “very aggressive about letting owners know that he thought minority leadership in the league was very important,” Feinstein says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That didn’t happen overnight. And it was helped along by a “very different” relationship between owners and players, says Scott Brooks, the director of research at the Global Sport Institute at Arizona State University.\u003c/p>\n\u003cp>Brooks says the NBA has managed a cultural shift that has so far eluded the NFL.\u003c/p>\n\u003cp>While the NFL is focusing on numbers, “the NBA, they’re beyond numbers,” he tells NPR. “They’re thinking about the relationships with the athletes. How this makes the athletes feel.”\u003c/p>\n\u003cp>He says it also helps that on-court legend Michael Jordan is among several owners and co-owners of color in the league.\u003c/p>\n\u003ch3>Problems in the NFL pipeline\u003c/h3>\n\u003cp>The road to NFL head coach can be a long and winding one. But there are some common paths. Consider the teams in this year’s Super Bowl: The Los Angeles Rams’ head coach Sean McVay and the Cincinnati Bengals’ Zac Taylor are both white and have similar resumes.\u003c/p>\n\u003cp>McVay and Taylor played Division I college football and held a variety of positions on their way to the head coach job — most notably as offensive coordinators, a position widely seen as a conduit to the top coaching job. In recent weeks, too, two of the three hires for head coaching positions, Hackett and Daboll, previously worked as offensive coordinators. Notably, \u003ca href=\"https://www.theatlantic.com/ideas/archive/2020/01/nfl-owners-have-problem-coaches-color/604771/\" target=\"_blank\" rel=\"noopener noreferrer\">few minorities hold key offensive coordinator positions\u003c/a>.\u003c/p>\n\u003cp>For those coaches who are former players, more quarterbacks—from either the college or the pro level—have managed to make the switch and get on a career path to the top.\u003c/p>\n\u003cp>African Americans, however, have long been discouraged from becoming quarterbacks—a position that has traditionally been dominated by white players. “In the ’60s and ’70s, almost every Black quarterback coming out of college was told to change positions,” says Feinstein\u003cem>. “\u003c/em>The excuse usually was because you’re fast and the underlying notion was, well, because you’re not smart enough.”\u003c/p>\n\u003cp>That’s changing, though, with an influx of Black starting quarterbacks in the league, says Brooks. “Will that give us more Blacks and nonwhites in these other positions? … That remains to be seen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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