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"content": "\u003cp>It was such a pleasurable experience being able to finally listen to \u003ca href=\"https://www.npr.org/artists/15121547/aaliyah\" target=\"_blank\" rel=\"noopener noreferrer\">Aaliyah\u003c/a>‘s \u003cem>One In A Million \u003c/em>album from beginning to end this past weekend, her lilting vocals pouring smoothly through my Sonos speakers. This was a moment fans have been waiting on for years, as \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes business wrangling\u003c/a> has long kept the majority of her relatively small discography off most streaming platforms. And as of Aug. 20, just a few days ahead of the 20\u003csup>th\u003c/sup> anniversary of her death in a plane crash, it was finally here, her second studio album available to enjoy and rewind and skip ahead through and immerse one’s self in, in all its sonic glory.\u003c/p>\n\u003cp>Her third and final studio album is set to arrive in the fall, and an equilibrium of sorts will have ultimately been restored. Because for far too long, only her first and most fraught album, \u003cem>Age Ain’t Nothing But A Number\u003c/em>, had been widely available, a fact that felt like a slap in the face to her legacy.\u003c/p>\n\u003cp>In death, as in life, Aaliyah deserved better.\u003c/p>\n\u003cp>But what, exactly, does “better” entail? Especially within the last couple of years, some things have become undeniably obvious: She deserved to have been better protected by those around her, to have had someone who saw the writing on the wall when a grown man, \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>, was penning songs for a 14-year-old to sing as a come-on to an older “lover.” The music industry shouldn’t have swept the revelation of Kelly’s illegal marriage to Aaliyah when she was just 15 (or the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">many other allegations\u003c/a> that have arisen over the years) under the rug.\u003c/p>\n\u003cp>More difficult, at least for me as both a fan and critic, is to reconcile that early part of her career with the rest of her body of work. A part of me would love nothing more than to never have to mention Kelly—who would later go by the ghastly nickname “\u003ca href=\"http://abcnewsradioonline.com/music-news/2016/2/3/r-kelly-reveals-why-he-calls-himself-the-pied-piper-of-rb.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Pied Piper of R&B\u003c/a>“—when discussing Aaliyah. It remains infuriating that (alleged) victims of sexual abuse are forever linked in name to their abusers, often to the detriment and overshadowing of everything else they accomplished. But while \u003cem>Age Ain’t Nothing But A Number \u003c/em>is forever tainted in the minds of fans, it’s impossible to ignore how crucial it was in establishing Aaliyah’s continuous appeal even as she distanced herself from Kelly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KKSz4NE6PwY&t=1s\u003c/p>\n\u003cp>It’s been said many times before, but really it can’t be overstated: “\u003ca href=\"https://www.youtube.com/watch?v=d03dmVx86Nk\" target=\"_blank\" rel=\"noopener noreferrer\">One in a Million\u003c/a>” sounds as if it was predicting the future; indeed, it sounds like now. In Timbaland’s skittering production, Missy Elliott’s staccato phrasing of the lyrics, and Aaliyah’s mellifluous interpretation you can hear the descendants that have followed in their wake—\u003ca href=\"https://www.youtube.com/watch?v=mKtVHStkB5c\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oEm3lY3trRU\" target=\"_blank\" rel=\"noopener noreferrer\">Jhené Aiko\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oXgA3koewAo\" target=\"_blank\" rel=\"noopener noreferrer\">Syd\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DFMEBquxeO8\" target=\"_blank\" rel=\"noopener noreferrer\">Normani\u003c/a>. Her various looks in the video were sleek, sexy, and mysterious, as she donned low-rise pants, crop tops and bras, and, in one scene, a silver eye-patch that seemed to come straight from a sci-fi dystopia playbook.\u003c/p>\n\u003cp>She seemed fully formed, utterly confident and secure in her body. This was true in her other songs from that era as well, from “\u003ca href=\"https://www.youtube.com/watch?v=v_Qy6vaMsFQ\" target=\"_blank\" rel=\"noopener noreferrer\">If Your Girl Only Knew\u003c/a>,” a self-assured midtempo joint in which she boasts how she won’t “be no fool” for a guy who’s trying to cheat with her, to “\u003ca href=\"https://www.youtube.com/watch?v=98ha5Ng913w\" target=\"_blank\" rel=\"noopener noreferrer\">Are You That Somebody?\u003c/a>” an earworm where she insists on keeping a hookup on the low until he can prove he’s serious. And if you were a young Black girl in the ’90s like I was, of course you were probably going to look at her and be struck by how cool she seemed, without thinking twice about it. You’d assume she was a grown woman, because if you’re below the age of 12, everyone older than you seems \u003cem>ancient\u003c/em>, and what young person is able to assert that much control? Yet she wasn’t even 18 when she recorded \u003cem>One in a Million\u003c/em>.\u003c/p>\n\u003cp>That’s what made her special—she stood out from the balladeers of the era (the Mariahs, Whitneys, En Vogues) and the teen pop stars (Brandy, Britney, Christina), in part because she seemed in command without needing to do too much. Her theatrics were subdued and contained, more slinky and less in-your-face. In hindsight, though, I’ve begun to wonder what it meant that she was introduced to the world as being fully formed, despite being a young teenager, an age where everyone is still trying to figure themselves out (and usually awkwardly so).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JUGjras2kvQ\u003c/p>\n\u003cp>Female teen pop stars usually emerge with a hint of innocence baked into their public persona, even as they playfully suggest their own sexuality and fuel many a boy’s or man’s sexual fantasy: Britney Spears is the prototypical example here (the schoolgirl outfit and pigtails in “\u003ca href=\"https://www.youtube.com/watch?v=C-u5WLJ9Yk4\" target=\"_blank\" rel=\"noopener noreferrer\">…Baby One More Time\u003c/a>“; that infamous \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\">\u003cem>Rolling Stone\u003c/em> cover\u003c/a> with the lingerie and stuffed Teletubby), but this was also true of Spears’ contemporaries in the ’90s and early ’00s, from Christina Aguilera to Mandy Moore to Jessica Simpson. The playbook for the biggest of those stars seemed to be this: Breakout by towing the line between virginal and sexy (and piss off religious groups and middle-class suburban parents in the process), then, a couple of years later, when you’re in your late teens or early 20s, enter your “mature” period, i.e. going full-on SEX KITTEN. Suggest a \u003ca href=\"https://www.youtube.com/watch?v=Mzybwwf2HoQ#t=02m46s\" target=\"_blank\" rel=\"noopener noreferrer\">sweaty, dance-orgy\u003c/a> in your video; get \u003ca href=\"https://www.youtube.com/watch?v=4Rg3sAb8Id8\" target=\"_blank\" rel=\"noopener noreferrer\">dirrty\u003c/a>. Get \u003ca href=\"https://www.buzzfeed.com/mjs538/wtf-parents\" target=\"_blank\" rel=\"noopener noreferrer\">blamed for corrupting America’s tweens\u003c/a>.\u003c/p>\n\u003cp>Aaliyah was rarely granted the opportunity to display that kind of innocence—she was branded as “mature” out the gate. From the beginning of her career, the dichotomy between her actual and perceived age was integral to her image. It was right there in the title of that debut album; in the lyrics of that song, where she seductively coos that “age ain’t nothin’ but a number, throwing down ain’t nothin’ but a thang.” In early interviews her exact age was usually treated as a jokey open secret—”\u003ca href=\"https://www.youtube.com/watch?v=0jMwKZE6Ce4\" target=\"_blank\" rel=\"noopener noreferrer\">I won’t reveal it, but I’m in my teens\u003c/a>, I’m still in high school”; “\u003ca href=\"https://www.youtube.com/watch?v=gwasUMVq-_8\" target=\"_blank\" rel=\"noopener noreferrer\">You know I don’t tell my age, it’s a secret\u003c/a>,” she’d coyly respond, with a giggle and a smile, when asked about how old she was.\u003c/p>\n\u003cfigure id=\"attachment_13901854\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg\" alt=\"Aaliyah at 'The Tonight Show with Jay Leno' at the NBC Studios in Burbank, July 2001.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Aaliyah at ‘The Tonight Show with Jay Leno’ at the NBC Studios in Burbank, July 2001. \u003ccite>(Kevin Winter/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clashing with the acknowledgment of her youth was how Kelly and her management team played down that crucial facet of her age, in the way she swaggered and sauntered in the baggy outfits, dark sunglasses, and swoop of hair draped over one eye, as if she were a neo-noir femme fatale from the ‘hood. (\u003ca href=\"https://www.tcm.com/tcmdb/person/107416%7C150623/Veronica-Lake/#overview\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Lake\u003c/a> was a frequent reference point for critics describing her look and mysterious aura.) The public pretty much accepted and played along with it. \u003cem>Billboard\u003c/em>‘s review of \u003cem>Age Ain’t Nothing But a Number \u003c/em>described her as an “\u003ca href=\"https://books.google.com/books?id=UAgEAAAAMBAJ&q=aaliyah+age+ain't+nothing+but+a+number&pg=PA64#v=snippet&q=aaliyah%20age%20ain't%20nothing%20but%20a%20number&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">urban teenaged siren\u003c/a>“; a \u003ca href=\"https://www.washingtonpost.com/blogs/click-track/post/archives-remembering-aaliyah/2011/08/25/gIQAEjUwdJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">review in the \u003cem>Washington Post\u003c/em>\u003c/a> held her up as a refreshing divergence from other teen stars of the moment, because unlike them, “she doesn’t try to assume emotions she’s never felt or take on material outside her range of experience”—implying that the image of Aaliyah as a fully sexualized woman (not a 15-year-old girl) with experience “go[ing] all the way” had been so strong at the time as to have been normalized and etched in stone. When that’s the public’s first impression of you in this business, there’s ostensibly no going back.\u003c/p>\n\u003cp>And so she didn’t—instead, she continued to build upon that persona while leaving Kelly behind. If \u003cem>One in a Million \u003c/em>largely eschews the ickiness that lies at the core of \u003cem>Age Ain’t Nothing But a Number\u003c/em>, it’s because that Svengali wasn’t involved, and Aaliyah was a little bit older. Still, there’s that tension and looming sadness over the thought that the singer was forced to grow up too soon. The evolution from \u003cem>Age\u003c/em>-era Aaliyah to \u003cem>One in a Million\u003c/em>-era Aaliyah wasn’t such a huge leap stylistically; she was still being put forth and received as more experienced than her counterparts, and comparisons to Janet Jackson (who by then had fully transitioned into her uber-sensual \u003ca href=\"https://www.youtube.com/watch?v=2b_KfAGiglc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>janet.\u003c/em>-era\u003c/a>) began to surface. “\u003ca href=\"https://books.google.com/books?id=4SsEAAAAMBAJ&pg=PA133#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">It’s still illegal to act on the thought\u003c/a>” of Aaliyah’s sexuality, dream hampton wrote in her contemporary review of \u003cem>One in a Million\u003c/em>, while noting that since her debut, the singer had “encourage[d] Lolita fantasies.” (hampton would later go on to executive produce the \u003ca href=\"https://www.npr.org/2021/08/23/1029623250/r-kelly-britney-spears-allen-farrow-russell-simmons\" target=\"_blank\" rel=\"noopener noreferrer\">damning and watershed docuseries \u003cem>Surviving R. Kelly\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>In the video for the title track, her love interest is Ginuwine, the R&B singer who was nearly a decade older than her; years later, Timbaland, who was 23 when he first met 16-year-old Aaliyah, would \u003ca href=\"https://www.complex.com/music/2019/01/timbaland-confesses-his-love-for-underage-aaliyah-in-resurfaced-video#cookie-settings\">admit in an interview\u003c/a> that he was “in love” with her, and had to “fight” to control his attraction to her. (By all accounts, their friendship remained platonic and professional.)\u003c/p>\n\u003cp>Aaliyah’s was a different trapping of fame as a teenaged female pop star—instead of dodging invasive questions about whether or not she was \u003ca href=\"http://www.mtv.com/news/1473676/britney-talks-sex-turns-out-she-really-wasnt-that-innocent/\" target=\"_blank\" rel=\"noopener noreferrer\">a virgin\u003c/a> or if she’d \u003ca href=\"https://www.youtube.com/watch?v=rgImasn50ZU\" target=\"_blank\" rel=\"noopener noreferrer\">gotten a boob job\u003c/a>, she dodged questions about an illegal marriage to a much older man while few seemed disturbed by the fact that this was even a question to be asked in the first place. (Most interviewers, in fact, seemed titillated by it.) Neither scenario is a healthy one for a young girl to have to deal with, but at least in the case of Aaliyah, the divide seems stark: to the public, white girlhood was something to be fiercely protected and saved from “corruption”; Black girlhood—Black innocence—cannot even be comprehended. And when Black girlhood isn’t fathomed, it’s not protected, as the many accounts from the young girls and women featured in \u003cem>Surviving R. Kelly \u003c/em>has made clear.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rTkba6mXMis\u003c/p>\n\u003cp>And yet, there’s a narrative of resilience that can be gleaned from \u003cem>One In A Million\u003c/em>, one that unearths power in the singer’s creative choices over her image and sound post-Kelly. She seemingly took the parts that felt the most like herself—the air of mystery, the laid-back vibes—and reworked them to help pioneer a new way forward in pop and R&B. Her boldness feels less put-upon and more natural, like the musings of the older teenager/budding young adult she was at the time, especially on an earnest track like “4 Page Letter.” I love to listen to it in this way, because I remember what it was like to be 16, 17-years-old, exploring my own personality and approach to relationships.\u003c/p>\n\u003cp>In the last years of her life, she had found more nuance to mine at 22-years-old—on “Try Again,” for instance, she expresses hesitancy in starting a new relationship, while coaxing her romantic interest to try a bit harder to earn her love and respect. That word that would follow her until the end—”mature”—still applied here, but this time it applied more to how she played with and expanded upon her vocal lyrical interpretations than it did her sexuality. She was growing up, even though she had been treated like an adult for much of her childhood.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The tragedy of Aaliyah is there are so many “What ifs?” that will forever remain unresolved. The upside is that, at least professionally, she managed to persevere in spite of the many people and institutions that failed her personally. Her final albums deserve to be heard in this way, and her legacy deserves to be remembered this way, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Made+Aaliyah+So+Special+Is+More+Complicated+Than+It+Seems&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was such a pleasurable experience being able to finally listen to \u003ca href=\"https://www.npr.org/artists/15121547/aaliyah\" target=\"_blank\" rel=\"noopener noreferrer\">Aaliyah\u003c/a>‘s \u003cem>One In A Million \u003c/em>album from beginning to end this past weekend, her lilting vocals pouring smoothly through my Sonos speakers. This was a moment fans have been waiting on for years, as \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes business wrangling\u003c/a> has long kept the majority of her relatively small discography off most streaming platforms. And as of Aug. 20, just a few days ahead of the 20\u003csup>th\u003c/sup> anniversary of her death in a plane crash, it was finally here, her second studio album available to enjoy and rewind and skip ahead through and immerse one’s self in, in all its sonic glory.\u003c/p>\n\u003cp>Her third and final studio album is set to arrive in the fall, and an equilibrium of sorts will have ultimately been restored. Because for far too long, only her first and most fraught album, \u003cem>Age Ain’t Nothing But A Number\u003c/em>, had been widely available, a fact that felt like a slap in the face to her legacy.\u003c/p>\n\u003cp>In death, as in life, Aaliyah deserved better.\u003c/p>\n\u003cp>But what, exactly, does “better” entail? Especially within the last couple of years, some things have become undeniably obvious: She deserved to have been better protected by those around her, to have had someone who saw the writing on the wall when a grown man, \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>, was penning songs for a 14-year-old to sing as a come-on to an older “lover.” The music industry shouldn’t have swept the revelation of Kelly’s illegal marriage to Aaliyah when she was just 15 (or the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">many other allegations\u003c/a> that have arisen over the years) under the rug.\u003c/p>\n\u003cp>More difficult, at least for me as both a fan and critic, is to reconcile that early part of her career with the rest of her body of work. A part of me would love nothing more than to never have to mention Kelly—who would later go by the ghastly nickname “\u003ca href=\"http://abcnewsradioonline.com/music-news/2016/2/3/r-kelly-reveals-why-he-calls-himself-the-pied-piper-of-rb.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Pied Piper of R&B\u003c/a>“—when discussing Aaliyah. It remains infuriating that (alleged) victims of sexual abuse are forever linked in name to their abusers, often to the detriment and overshadowing of everything else they accomplished. But while \u003cem>Age Ain’t Nothing But A Number \u003c/em>is forever tainted in the minds of fans, it’s impossible to ignore how crucial it was in establishing Aaliyah’s continuous appeal even as she distanced herself from Kelly.\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/KKSz4NE6PwY'\n title='//www.youtube.com/embed/KKSz4NE6PwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s been said many times before, but really it can’t be overstated: “\u003ca href=\"https://www.youtube.com/watch?v=d03dmVx86Nk\" target=\"_blank\" rel=\"noopener noreferrer\">One in a Million\u003c/a>” sounds as if it was predicting the future; indeed, it sounds like now. In Timbaland’s skittering production, Missy Elliott’s staccato phrasing of the lyrics, and Aaliyah’s mellifluous interpretation you can hear the descendants that have followed in their wake—\u003ca href=\"https://www.youtube.com/watch?v=mKtVHStkB5c\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oEm3lY3trRU\" target=\"_blank\" rel=\"noopener noreferrer\">Jhené Aiko\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oXgA3koewAo\" target=\"_blank\" rel=\"noopener noreferrer\">Syd\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DFMEBquxeO8\" target=\"_blank\" rel=\"noopener noreferrer\">Normani\u003c/a>. Her various looks in the video were sleek, sexy, and mysterious, as she donned low-rise pants, crop tops and bras, and, in one scene, a silver eye-patch that seemed to come straight from a sci-fi dystopia playbook.\u003c/p>\n\u003cp>She seemed fully formed, utterly confident and secure in her body. This was true in her other songs from that era as well, from “\u003ca href=\"https://www.youtube.com/watch?v=v_Qy6vaMsFQ\" target=\"_blank\" rel=\"noopener noreferrer\">If Your Girl Only Knew\u003c/a>,” a self-assured midtempo joint in which she boasts how she won’t “be no fool” for a guy who’s trying to cheat with her, to “\u003ca href=\"https://www.youtube.com/watch?v=98ha5Ng913w\" target=\"_blank\" rel=\"noopener noreferrer\">Are You That Somebody?\u003c/a>” an earworm where she insists on keeping a hookup on the low until he can prove he’s serious. And if you were a young Black girl in the ’90s like I was, of course you were probably going to look at her and be struck by how cool she seemed, without thinking twice about it. You’d assume she was a grown woman, because if you’re below the age of 12, everyone older than you seems \u003cem>ancient\u003c/em>, and what young person is able to assert that much control? Yet she wasn’t even 18 when she recorded \u003cem>One in a Million\u003c/em>.\u003c/p>\n\u003cp>That’s what made her special—she stood out from the balladeers of the era (the Mariahs, Whitneys, En Vogues) and the teen pop stars (Brandy, Britney, Christina), in part because she seemed in command without needing to do too much. Her theatrics were subdued and contained, more slinky and less in-your-face. In hindsight, though, I’ve begun to wonder what it meant that she was introduced to the world as being fully formed, despite being a young teenager, an age where everyone is still trying to figure themselves out (and usually awkwardly so).\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/JUGjras2kvQ'\n title='//www.youtube.com/embed/JUGjras2kvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Female teen pop stars usually emerge with a hint of innocence baked into their public persona, even as they playfully suggest their own sexuality and fuel many a boy’s or man’s sexual fantasy: Britney Spears is the prototypical example here (the schoolgirl outfit and pigtails in “\u003ca href=\"https://www.youtube.com/watch?v=C-u5WLJ9Yk4\" target=\"_blank\" rel=\"noopener noreferrer\">…Baby One More Time\u003c/a>“; that infamous \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\">\u003cem>Rolling Stone\u003c/em> cover\u003c/a> with the lingerie and stuffed Teletubby), but this was also true of Spears’ contemporaries in the ’90s and early ’00s, from Christina Aguilera to Mandy Moore to Jessica Simpson. The playbook for the biggest of those stars seemed to be this: Breakout by towing the line between virginal and sexy (and piss off religious groups and middle-class suburban parents in the process), then, a couple of years later, when you’re in your late teens or early 20s, enter your “mature” period, i.e. going full-on SEX KITTEN. Suggest a \u003ca href=\"https://www.youtube.com/watch?v=Mzybwwf2HoQ#t=02m46s\" target=\"_blank\" rel=\"noopener noreferrer\">sweaty, dance-orgy\u003c/a> in your video; get \u003ca href=\"https://www.youtube.com/watch?v=4Rg3sAb8Id8\" target=\"_blank\" rel=\"noopener noreferrer\">dirrty\u003c/a>. Get \u003ca href=\"https://www.buzzfeed.com/mjs538/wtf-parents\" target=\"_blank\" rel=\"noopener noreferrer\">blamed for corrupting America’s tweens\u003c/a>.\u003c/p>\n\u003cp>Aaliyah was rarely granted the opportunity to display that kind of innocence—she was branded as “mature” out the gate. From the beginning of her career, the dichotomy between her actual and perceived age was integral to her image. It was right there in the title of that debut album; in the lyrics of that song, where she seductively coos that “age ain’t nothin’ but a number, throwing down ain’t nothin’ but a thang.” In early interviews her exact age was usually treated as a jokey open secret—”\u003ca href=\"https://www.youtube.com/watch?v=0jMwKZE6Ce4\" target=\"_blank\" rel=\"noopener noreferrer\">I won’t reveal it, but I’m in my teens\u003c/a>, I’m still in high school”; “\u003ca href=\"https://www.youtube.com/watch?v=gwasUMVq-_8\" target=\"_blank\" rel=\"noopener noreferrer\">You know I don’t tell my age, it’s a secret\u003c/a>,” she’d coyly respond, with a giggle and a smile, when asked about how old she was.\u003c/p>\n\u003cfigure id=\"attachment_13901854\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg\" alt=\"Aaliyah at 'The Tonight Show with Jay Leno' at the NBC Studios in Burbank, July 2001.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Aaliyah at ‘The Tonight Show with Jay Leno’ at the NBC Studios in Burbank, July 2001. \u003ccite>(Kevin Winter/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clashing with the acknowledgment of her youth was how Kelly and her management team played down that crucial facet of her age, in the way she swaggered and sauntered in the baggy outfits, dark sunglasses, and swoop of hair draped over one eye, as if she were a neo-noir femme fatale from the ‘hood. (\u003ca href=\"https://www.tcm.com/tcmdb/person/107416%7C150623/Veronica-Lake/#overview\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Lake\u003c/a> was a frequent reference point for critics describing her look and mysterious aura.) The public pretty much accepted and played along with it. \u003cem>Billboard\u003c/em>‘s review of \u003cem>Age Ain’t Nothing But a Number \u003c/em>described her as an “\u003ca href=\"https://books.google.com/books?id=UAgEAAAAMBAJ&q=aaliyah+age+ain't+nothing+but+a+number&pg=PA64#v=snippet&q=aaliyah%20age%20ain't%20nothing%20but%20a%20number&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">urban teenaged siren\u003c/a>“; a \u003ca href=\"https://www.washingtonpost.com/blogs/click-track/post/archives-remembering-aaliyah/2011/08/25/gIQAEjUwdJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">review in the \u003cem>Washington Post\u003c/em>\u003c/a> held her up as a refreshing divergence from other teen stars of the moment, because unlike them, “she doesn’t try to assume emotions she’s never felt or take on material outside her range of experience”—implying that the image of Aaliyah as a fully sexualized woman (not a 15-year-old girl) with experience “go[ing] all the way” had been so strong at the time as to have been normalized and etched in stone. When that’s the public’s first impression of you in this business, there’s ostensibly no going back.\u003c/p>\n\u003cp>And so she didn’t—instead, she continued to build upon that persona while leaving Kelly behind. If \u003cem>One in a Million \u003c/em>largely eschews the ickiness that lies at the core of \u003cem>Age Ain’t Nothing But a Number\u003c/em>, it’s because that Svengali wasn’t involved, and Aaliyah was a little bit older. Still, there’s that tension and looming sadness over the thought that the singer was forced to grow up too soon. The evolution from \u003cem>Age\u003c/em>-era Aaliyah to \u003cem>One in a Million\u003c/em>-era Aaliyah wasn’t such a huge leap stylistically; she was still being put forth and received as more experienced than her counterparts, and comparisons to Janet Jackson (who by then had fully transitioned into her uber-sensual \u003ca href=\"https://www.youtube.com/watch?v=2b_KfAGiglc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>janet.\u003c/em>-era\u003c/a>) began to surface. “\u003ca href=\"https://books.google.com/books?id=4SsEAAAAMBAJ&pg=PA133#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">It’s still illegal to act on the thought\u003c/a>” of Aaliyah’s sexuality, dream hampton wrote in her contemporary review of \u003cem>One in a Million\u003c/em>, while noting that since her debut, the singer had “encourage[d] Lolita fantasies.” (hampton would later go on to executive produce the \u003ca href=\"https://www.npr.org/2021/08/23/1029623250/r-kelly-britney-spears-allen-farrow-russell-simmons\" target=\"_blank\" rel=\"noopener noreferrer\">damning and watershed docuseries \u003cem>Surviving R. Kelly\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>In the video for the title track, her love interest is Ginuwine, the R&B singer who was nearly a decade older than her; years later, Timbaland, who was 23 when he first met 16-year-old Aaliyah, would \u003ca href=\"https://www.complex.com/music/2019/01/timbaland-confesses-his-love-for-underage-aaliyah-in-resurfaced-video#cookie-settings\">admit in an interview\u003c/a> that he was “in love” with her, and had to “fight” to control his attraction to her. (By all accounts, their friendship remained platonic and professional.)\u003c/p>\n\u003cp>Aaliyah’s was a different trapping of fame as a teenaged female pop star—instead of dodging invasive questions about whether or not she was \u003ca href=\"http://www.mtv.com/news/1473676/britney-talks-sex-turns-out-she-really-wasnt-that-innocent/\" target=\"_blank\" rel=\"noopener noreferrer\">a virgin\u003c/a> or if she’d \u003ca href=\"https://www.youtube.com/watch?v=rgImasn50ZU\" target=\"_blank\" rel=\"noopener noreferrer\">gotten a boob job\u003c/a>, she dodged questions about an illegal marriage to a much older man while few seemed disturbed by the fact that this was even a question to be asked in the first place. (Most interviewers, in fact, seemed titillated by it.) Neither scenario is a healthy one for a young girl to have to deal with, but at least in the case of Aaliyah, the divide seems stark: to the public, white girlhood was something to be fiercely protected and saved from “corruption”; Black girlhood—Black innocence—cannot even be comprehended. And when Black girlhood isn’t fathomed, it’s not protected, as the many accounts from the young girls and women featured in \u003cem>Surviving R. Kelly \u003c/em>has made clear.\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/rTkba6mXMis'\n title='//www.youtube.com/embed/rTkba6mXMis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet, there’s a narrative of resilience that can be gleaned from \u003cem>One In A Million\u003c/em>, one that unearths power in the singer’s creative choices over her image and sound post-Kelly. She seemingly took the parts that felt the most like herself—the air of mystery, the laid-back vibes—and reworked them to help pioneer a new way forward in pop and R&B. Her boldness feels less put-upon and more natural, like the musings of the older teenager/budding young adult she was at the time, especially on an earnest track like “4 Page Letter.” I love to listen to it in this way, because I remember what it was like to be 16, 17-years-old, exploring my own personality and approach to relationships.\u003c/p>\n\u003cp>In the last years of her life, she had found more nuance to mine at 22-years-old—on “Try Again,” for instance, she expresses hesitancy in starting a new relationship, while coaxing her romantic interest to try a bit harder to earn her love and respect. That word that would follow her until the end—”mature”—still applied here, but this time it applied more to how she played with and expanded upon her vocal lyrical interpretations than it did her sexuality. She was growing up, even though she had been treated like an adult for much of her childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tragedy of Aaliyah is there are so many “What ifs?” that will forever remain unresolved. The upside is that, at least professionally, she managed to persevere in spite of the many people and institutions that failed her personally. Her final albums deserve to be heard in this way, and her legacy deserves to be remembered this way, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Made+Aaliyah+So+Special+Is+More+Complicated+Than+It+Seems&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Man Photographed as a Baby on 'Nevermind' Cover Sues Nirvana for Sexual Exploitation",
"headTitle": "Man Photographed as a Baby on ‘Nevermind’ Cover Sues Nirvana for Sexual Exploitation | KQED",
"content": "\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\n\u003cp>https://twitter.com/TheOtherGSP/status/1430539014692478980\u003c/p>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\n\u003cp>https://twitter.com/UpToTASK/status/1430549339676438529\u003c/p>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n",
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"excerpt": "Spencer Elden, now 30, is suing the band, the photographer and the record labels that he says profited from the image. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Tokyo Paralympics are Here. Some of the Sports and Athletes to Watch",
"headTitle": "The Tokyo Paralympics are Here. Some of the Sports and Athletes to Watch | KQED",
"content": "\u003cp>The Tokyo Paralympic Games are officially underway, and will run until Sept. 5.\u003c/p>\n\u003cp>Hopefully you’ve gotten a glimpse of the opening ceremony—and if not, you can catch it again at 7 p.m. Tuesday on NBCSN, which will lead into live event coverage. All told, the Games will feature 539 events across 22 sports.\u003c/p>\n\u003cp>So what should you be tuning into over the next dozen days? \u003ca href=\"https://olympics.com/tokyo-2020/paralympic-games/en/results/all-sports/paralympic-schedule.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s the full schedule\u003c/a>, and a couple suggestions of events and athletes to watch:\u003c/p>\n\u003ch3>Badminton and Taekwondo make their Paralympic debut\u003c/h3>\n\u003cp>These are the first Games to include \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#badminton-and-taekwondo-make-their-paralympic-debut-in-tokyo\" target=\"_blank\" rel=\"noopener noreferrer\">badminton and taekwondo\u003c/a>, which is the Paralympics’ first full-contact sport ever. Badminton events start on Sept. 1, with medal events beginning Sept. 4. You can catch taekwondo starting on Sept. 2.\u003c/p>\n\u003ch3>Six-time Paralympian Tatyana McFadden will hit the track\u003c/h3>\n\u003cfigure id=\"attachment_13901753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233527051-8c9477941cad6336ca1331ad0561cad832c82bce-800x600.jpg\" alt=\"Tatyana McFadden, center, and Jenna Fesemyer of the United States compete in the Women's 5000 Meter Run T53/54 Wheelchair final during the 2021 U.S. Paralympic Trials at Breck High School on June 18, 2021 in Minneapolis, Minnesota.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Tatyana McFadden, center, and Jenna Fesemyer of the United States compete in the Women’s 5000 Meter Run T53/54 Wheelchair final during the 2021 U.S. Paralympic Trials at Breck High School on June 18, 2021 in Minneapolis, Minnesota. \u003ccite>( David Berding/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Team USA calls McFadden its “undisputed queen of the track.” The wheelchair racer is a 17-time medalist in several events, including Nordic skiing in 2014.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while she’s won many of the world’s Marathon Major races, she hasn’t yet claimed a Paralympic gold medal. She’ll be trying for it on Sept. 5.\u003c/p>\n\u003ch3>Highly-decorated U.S. swimmer Jessica Long looks to medal again\u003c/h3>\n\u003cp>Long has racked up 23 career medals since her Paralympic debut in 2004 (at age 12), \u003ca href=\"https://www.teamusa.org/News/2021/August/23/What-To-Watch-For-And-How-To-Watch-The-Paralympic-Games-Tokyo-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Team USA notes\u003c/a>. She took home gold in the 400-meter freestyle in her first three Games, and is looking to medal again in that event on Aug. 31.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0TTCIZjA8qc\u003c/p>\n\u003ch3>The six athletes responsible for legendary podium sweeps in Rio are back\u003c/h3>\n\u003cp>U.S. athletes swept the podium three times in 2016: track stars McFadden, Amanda McGrory and Chelsea McClammer did twice, and Allysa Seely, Hailey Danz (nee Danisewicz) and Melissa Stockwell took all the medals in the inaugural paratriathlon event.\u003c/p>\n\u003cp>All six are gearing up again for competition in Tokyo.\u003c/p>\n\u003cfigure id=\"attachment_13901754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-800x600.jpg\" alt=\"Hailey Danz (nee Danisewicz), Allysa Seely and Melissa Stockwell pose for photographers after sweeping the first three places in the women's triathlon PT2 at Fort Copacabana during the Rio 2016 Paralympic Games on Sept. 11, 2016, in Brazil.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hailey Danz (nee Danisewicz), Allysa Seely and Melissa Stockwell pose for photographers after sweeping the first three places in the women’s triathlon PT2 at Fort Copacabana during the Rio 2016 Paralympic Games on Sept. 11, 2016, in Brazil. \u003ccite>(Matthew Stockman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Seasoned athletes are competing in new events this summer\u003c/h3>\n\u003cp>\u003ca href=\"https://www.teamusa.org/News/2021/August/21/History-Milestones-And-Medals-The-Team-USA-Paralympians-Leading-The-Way\" target=\"_blank\" rel=\"noopener noreferrer\">Twelve U.S. athletes\u003c/a> have competed in more than one Paralympic sport. Several are competing in new events this year.\u003c/p>\n\u003cp>Kendall Gretsch, a two-time Paralympic gold medalist in Nordic skiing, will compete with the U.S. paratriathlon team in Tokyo—alongside Brad Snyder, the legendary swimmer with five Paralympic gold medals in that sport. Snyder’s race is Aug. 28 and Gretsch’s is the following day.\u003c/p>\n\u003cp>Oksana Masters won a bronze medal in rowing in 2012, then seven more medals as a cross-country skier and biathlete. These are her second games as a handcyclist, and she hopes it will be her first medal in the sport. (Team USA notes that the only other U.S. athlete with three sports to their name is cross-country skier, biathlete and marathoner Aaron Pike—who is also her boyfriend.) \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#meet-olympic-power-couple-hunter-woodhall-and-tara-davis\" target=\"_blank\" rel=\"noopener noreferrer\">There’s more than one power couple at this Olympics\u003c/a>!\u003c/p>\n\u003cp>Plus, U.S. athlete Blake Haxton will compete in two sports: rowing (as he did in Rio 2016) and sprint canoe.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#what-you-need-to-know-about-team-usa\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about Team USA here\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#some-of-the-paralympic-events-and-athletes-to-watch\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Tokyo+Paralympics+Are+Here.+These+Are+Some+Of+The+Sports+And+Athletes+To+Watch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Tokyo Paralympic Games are officially underway, and will run until Sept. 5.\u003c/p>\n\u003cp>Hopefully you’ve gotten a glimpse of the opening ceremony—and if not, you can catch it again at 7 p.m. Tuesday on NBCSN, which will lead into live event coverage. All told, the Games will feature 539 events across 22 sports.\u003c/p>\n\u003cp>So what should you be tuning into over the next dozen days? \u003ca href=\"https://olympics.com/tokyo-2020/paralympic-games/en/results/all-sports/paralympic-schedule.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s the full schedule\u003c/a>, and a couple suggestions of events and athletes to watch:\u003c/p>\n\u003ch3>Badminton and Taekwondo make their Paralympic debut\u003c/h3>\n\u003cp>These are the first Games to include \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#badminton-and-taekwondo-make-their-paralympic-debut-in-tokyo\" target=\"_blank\" rel=\"noopener noreferrer\">badminton and taekwondo\u003c/a>, which is the Paralympics’ first full-contact sport ever. Badminton events start on Sept. 1, with medal events beginning Sept. 4. You can catch taekwondo starting on Sept. 2.\u003c/p>\n\u003ch3>Six-time Paralympian Tatyana McFadden will hit the track\u003c/h3>\n\u003cfigure id=\"attachment_13901753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233527051-8c9477941cad6336ca1331ad0561cad832c82bce-800x600.jpg\" alt=\"Tatyana McFadden, center, and Jenna Fesemyer of the United States compete in the Women's 5000 Meter Run T53/54 Wheelchair final during the 2021 U.S. Paralympic Trials at Breck High School on June 18, 2021 in Minneapolis, Minnesota.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Tatyana McFadden, center, and Jenna Fesemyer of the United States compete in the Women’s 5000 Meter Run T53/54 Wheelchair final during the 2021 U.S. Paralympic Trials at Breck High School on June 18, 2021 in Minneapolis, Minnesota. \u003ccite>( David Berding/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Team USA calls McFadden its “undisputed queen of the track.” The wheelchair racer is a 17-time medalist in several events, including Nordic skiing in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while she’s won many of the world’s Marathon Major races, she hasn’t yet claimed a Paralympic gold medal. She’ll be trying for it on Sept. 5.\u003c/p>\n\u003ch3>Highly-decorated U.S. swimmer Jessica Long looks to medal again\u003c/h3>\n\u003cp>Long has racked up 23 career medals since her Paralympic debut in 2004 (at age 12), \u003ca href=\"https://www.teamusa.org/News/2021/August/23/What-To-Watch-For-And-How-To-Watch-The-Paralympic-Games-Tokyo-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Team USA notes\u003c/a>. She took home gold in the 400-meter freestyle in her first three Games, and is looking to medal again in that event on Aug. 31.\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/0TTCIZjA8qc'\n title='//www.youtube.com/embed/0TTCIZjA8qc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The six athletes responsible for legendary podium sweeps in Rio are back\u003c/h3>\n\u003cp>U.S. athletes swept the podium three times in 2016: track stars McFadden, Amanda McGrory and Chelsea McClammer did twice, and Allysa Seely, Hailey Danz (nee Danisewicz) and Melissa Stockwell took all the medals in the inaugural paratriathlon event.\u003c/p>\n\u003cp>All six are gearing up again for competition in Tokyo.\u003c/p>\n\u003cfigure id=\"attachment_13901754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-800x600.jpg\" alt=\"Hailey Danz (nee Danisewicz), Allysa Seely and Melissa Stockwell pose for photographers after sweeping the first three places in the women's triathlon PT2 at Fort Copacabana during the Rio 2016 Paralympic Games on Sept. 11, 2016, in Brazil.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-602404478-2a0112d2b49257cbfa72b33770e72e913d4240a9-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hailey Danz (nee Danisewicz), Allysa Seely and Melissa Stockwell pose for photographers after sweeping the first three places in the women’s triathlon PT2 at Fort Copacabana during the Rio 2016 Paralympic Games on Sept. 11, 2016, in Brazil. \u003ccite>(Matthew Stockman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Seasoned athletes are competing in new events this summer\u003c/h3>\n\u003cp>\u003ca href=\"https://www.teamusa.org/News/2021/August/21/History-Milestones-And-Medals-The-Team-USA-Paralympians-Leading-The-Way\" target=\"_blank\" rel=\"noopener noreferrer\">Twelve U.S. athletes\u003c/a> have competed in more than one Paralympic sport. Several are competing in new events this year.\u003c/p>\n\u003cp>Kendall Gretsch, a two-time Paralympic gold medalist in Nordic skiing, will compete with the U.S. paratriathlon team in Tokyo—alongside Brad Snyder, the legendary swimmer with five Paralympic gold medals in that sport. Snyder’s race is Aug. 28 and Gretsch’s is the following day.\u003c/p>\n\u003cp>Oksana Masters won a bronze medal in rowing in 2012, then seven more medals as a cross-country skier and biathlete. These are her second games as a handcyclist, and she hopes it will be her first medal in the sport. (Team USA notes that the only other U.S. athlete with three sports to their name is cross-country skier, biathlete and marathoner Aaron Pike—who is also her boyfriend.) \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#meet-olympic-power-couple-hunter-woodhall-and-tara-davis\" target=\"_blank\" rel=\"noopener noreferrer\">There’s more than one power couple at this Olympics\u003c/a>!\u003c/p>\n\u003cp>Plus, U.S. athlete Blake Haxton will compete in two sports: rowing (as he did in Rio 2016) and sprint canoe.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#what-you-need-to-know-about-team-usa\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about Team USA here\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-08-24#some-of-the-paralympic-events-and-athletes-to-watch\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Tokyo+Paralympics+Are+Here.+These+Are+Some+Of+The+Sports+And+Athletes+To+Watch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Haiti Deserves Careful Attention. An Author Recommends 4 Books to Help",
"headTitle": "Haiti Deserves Careful Attention. An Author Recommends 4 Books to Help | KQED",
"content": "\u003cp>Just over a week after the \u003ca href=\"https://www.npr.org/2021/08/15/1027949063/death-toll-haiti-massive-earthquake-rescue\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake that rocked southern Haiti\u003c/a>, killing over 2,000 people, tumbling buildings, fissuring roads, it’s difficult for me, as a native of Port-au-Prince, to piece together my thoughts on what has happened.\u003c/p>\n\u003cfigure id=\"attachment_13901714\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg\" alt=\"Author Myriam J.A. Chancy.\" width=\"421\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg 421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4-160x120.jpg 160w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Author Myriam J.A. Chancy. \u003ccite>(N. Affonso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So much of me remains, or has come with me, from that mountainous landscape: the red of flamboyant trees; the yells of market women; the cry of a neighbor’s rooster; my grandmother’s cooking. When I was born, most of my family lived in Port-au-Prince. Returns were frequent, to the point that I did not realize for years that I lived outside Haiti. It was only when summer returns ended and family began to visit us, that I realized that we had left. Still, in my mind, Haiti was home; everywhere else was temporary.\u003c/p>\n\u003cp>So soon after the current catastrophes, I’m surprised to hear my American acquaintances referencing the 8/14 earthquake—\u003ca href=\"https://www.npr.org/2021/08/18/1028888816/how-haiti-is-weathering-two-natural-disasters-at-once\" target=\"_blank\" rel=\"noopener noreferrer\">and the hurricane that struck a few days later\u003c/a>—as something banal, as if to say that, this being Haiti, we can expect little more than catastrophe and chaos. Such pronouncements are couched in an “othering” of Haitians. There is also an unspoken assumption that Haitian immigrants like myself seek to assimilate, start over, forget everything and everyone left behind. But most immigrants are here because others were there. Still, even as we continue in an elsewhere in which “home” must be forged, some part of us remains in our places of origin.\u003c/p>\n\u003ch3>Gunboat diplomacy brutalizes a newborn nation\u003c/h3>\n\u003cfigure id=\"attachment_13901715\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg\" alt=\"'Silencing the Past,' by Michel Rolph-Trouillot.\" width=\"200\" height=\"298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b-160x238.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Silencing the Past,’ by Michel Rolph-Trouillot. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>August 14 is also the anniversary of the gathering of Bois Caïman when, in 1791, enslaved Africans gathered in a vodou ceremony to set in motion the liberation of Saint-Domingue, making it the first Black nation in the hemisphere and the second American Republic (second to the US) by 1804. In an important historical analysis of Haiti’s marginalization in the Western Hemisphere, \u003cem>Silencing the Past\u003c/em>, Haitian anthropologist, Michel Rolph-Trouillot wrote about how the success of the Haitian Revolution has been denied because of a belief that enslaved people could not imagine freedom, nor free themselves.\u003c/p>\n\u003cp>Yet, its success can be measured by the visceral global response, including \u003ca href=\"https://www.miamiherald.com/opinion/op-ed/article252809873.html\" target=\"_blank\" rel=\"noopener noreferrer\">France’s imposition of a sizable indemnity\u003c/a> to “allow” the new nation access to global trade, \u003ca href=\"https://abcnews.go.com/US/colonial-era-debt-helped-shape-haitis-poverty-political/story?id=78851735\" target=\"_blank\" rel=\"noopener noreferrer\">estimated in today’s currency to amount to $21 billion\u003c/a>. This, and only this, is the cause of Haiti’s precipitous economic decline. Gunboat diplomacy then ensured that the fledging nation could not advance its sovereignty. Consequently, the number of Haitian immigrants and refugees to the U.S. rose dramatically in the late 20th century, only to be rebuffed, sometimes violently—as Edwidge Danticat has documented in the memoir of her uncle’s death at the hands of immigration services, \u003cem>Brother, I’m Dying. \u003c/em>When journalists refer to Haiti as \u003ca href=\"https://www.nytimes.com/2021/07/07/world/americas/haiti-poverty-history.html#:~:text=Haiti%2C%20with%20a%20population%20of,country%20in%20the%20Western%20Hemisphere\" target=\"_blank\" rel=\"noopener noreferrer\">the poorest country in the Western Hemisphere\u003c/a> I don’t cringe, as others do, because I know this history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those of us who are native-born, immigrant, or of Haitian descent, and who have narrow ties to family or friends there, the avalanche of news from Haiti this summer has been wrenching, from gangs holding whole neighborhoods hostage, to the assassination of the President, to the news of an inconceivable earthquake in areas mostly untouched during the \u003ca href=\"https://www.npr.org/series/122522434/haiti-quake-ruin-and-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake of January 12, 2010\u003c/a>, which rocked Port-au-Prince, home to a little over 2 million, and left nearly 300,000 dead. The epicenter of the recent quake is toward the southwestern tip of the island of Hispaniola which Haiti shares with the Dominican Republic. Upon hearing the news, I hoped that it was offshore, subterranean, leaving those on firm land unaffected. But, within hours, the preliminary reports stated that loss of life would be significant, the damage pervasive. The only “good” news is that the capital appears untouched.\u003c/p>\n\u003ch3>Aid without consulting the suffering—a vicious cycle\u003c/h3>\n\u003cfigure id=\"attachment_13901716\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg\" alt=\"'Fault Lines: Views Across Haiti's Divide,' by Beverly Bell.\" width=\"200\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c-160x239.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Fault Lines: Views Across Haiti’s Divide,’ by Beverly Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>The first images out have come from Haitians themselves, circulated on social media. One man narrates his walk down a chaotic street filming collapsed buildings. “There were people there,” he says, “they probably died.” Then, “it looks like January 12.” It is those on the ground, already suffering losses of life and home who will start the work of recovery and reconstruction. Then, within very little time, those activating the principle of the \u003cem>konbit\u003c/em>, of the collective, will be pushed aside by larger entities who think they know better\u003cem>.\u003c/em>\u003c/p>\n\u003cp>A vicious cycle is about to reignite, the features of which are already predictable: Plans for reconstruction without consultation with those most affected, camps for displaced people, disaster capitalism. If readers do not remember what happened to aid after the 2010 earthquake, I would suggest they seek out Raoul Peck’s film, \u003cem>\u003ca href=\"https://www.nytimes.com/2014/02/28/movies/fatal-assistance-about-relief-efforts-in-haiti.html\" target=\"_blank\" rel=\"noopener noreferrer\">Fatal Assistance\u003c/a>\u003c/em>, and Beverly Bell’s book \u003cem>Fault Lines\u003c/em>, both of which document the period meticulously. The present moment requires us to recognize, as Bell writes, “for every home destroyed, a story of life or death.” Both the dead and those remaining are owed the respect of our not looking away.\u003c/p>\n\u003cp>That first night after the earthquake of 8/14, with the memories of 2010 returned, many chose to sleep outdoors, for fear of the earth swaying again, for fear of another collapse, whether or not they were themselves in newly affected areas. \u003ca href=\"https://www.sunypress.edu/p-6944-the-immortals.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Makenzy Orcel’s novel, \u003cem>The Immortals\u003c/em>\u003c/a>, gives voice to the weight of these recollections: “Imagine for a moment that the sky is made of concrete. That this thing lasted an eternity. That the earth can no longer stop shaking. That the sun can never come up again.”\u003c/p>\n\u003cp>Many of us don’t have to imagine: some lived it first-hand. For others, this is how the weight of the losses felt. Whether we were here, or there, we defy forgetting. What matters now is how, remembrance in hand, the next moments are faced. How all of us, together, can make sure that history does not repeat itself endlessly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Myriam J. A. Chancy’s new novel on the 2010 Haiti earthquake, \u003c/em>What Storm, What Thunder\u003cem> is forthcoming from Tin House in October.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haiti+Deserves+Careful+Attention.+An+Author+Recommends+4+Books+To+Help&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just over a week after the \u003ca href=\"https://www.npr.org/2021/08/15/1027949063/death-toll-haiti-massive-earthquake-rescue\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake that rocked southern Haiti\u003c/a>, killing over 2,000 people, tumbling buildings, fissuring roads, it’s difficult for me, as a native of Port-au-Prince, to piece together my thoughts on what has happened.\u003c/p>\n\u003cfigure id=\"attachment_13901714\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg\" alt=\"Author Myriam J.A. Chancy.\" width=\"421\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg 421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4-160x120.jpg 160w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Author Myriam J.A. Chancy. \u003ccite>(N. Affonso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So much of me remains, or has come with me, from that mountainous landscape: the red of flamboyant trees; the yells of market women; the cry of a neighbor’s rooster; my grandmother’s cooking. When I was born, most of my family lived in Port-au-Prince. Returns were frequent, to the point that I did not realize for years that I lived outside Haiti. It was only when summer returns ended and family began to visit us, that I realized that we had left. Still, in my mind, Haiti was home; everywhere else was temporary.\u003c/p>\n\u003cp>So soon after the current catastrophes, I’m surprised to hear my American acquaintances referencing the 8/14 earthquake—\u003ca href=\"https://www.npr.org/2021/08/18/1028888816/how-haiti-is-weathering-two-natural-disasters-at-once\" target=\"_blank\" rel=\"noopener noreferrer\">and the hurricane that struck a few days later\u003c/a>—as something banal, as if to say that, this being Haiti, we can expect little more than catastrophe and chaos. Such pronouncements are couched in an “othering” of Haitians. There is also an unspoken assumption that Haitian immigrants like myself seek to assimilate, start over, forget everything and everyone left behind. But most immigrants are here because others were there. Still, even as we continue in an elsewhere in which “home” must be forged, some part of us remains in our places of origin.\u003c/p>\n\u003ch3>Gunboat diplomacy brutalizes a newborn nation\u003c/h3>\n\u003cfigure id=\"attachment_13901715\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg\" alt=\"'Silencing the Past,' by Michel Rolph-Trouillot.\" width=\"200\" height=\"298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b-160x238.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Silencing the Past,’ by Michel Rolph-Trouillot. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>August 14 is also the anniversary of the gathering of Bois Caïman when, in 1791, enslaved Africans gathered in a vodou ceremony to set in motion the liberation of Saint-Domingue, making it the first Black nation in the hemisphere and the second American Republic (second to the US) by 1804. In an important historical analysis of Haiti’s marginalization in the Western Hemisphere, \u003cem>Silencing the Past\u003c/em>, Haitian anthropologist, Michel Rolph-Trouillot wrote about how the success of the Haitian Revolution has been denied because of a belief that enslaved people could not imagine freedom, nor free themselves.\u003c/p>\n\u003cp>Yet, its success can be measured by the visceral global response, including \u003ca href=\"https://www.miamiherald.com/opinion/op-ed/article252809873.html\" target=\"_blank\" rel=\"noopener noreferrer\">France’s imposition of a sizable indemnity\u003c/a> to “allow” the new nation access to global trade, \u003ca href=\"https://abcnews.go.com/US/colonial-era-debt-helped-shape-haitis-poverty-political/story?id=78851735\" target=\"_blank\" rel=\"noopener noreferrer\">estimated in today’s currency to amount to $21 billion\u003c/a>. This, and only this, is the cause of Haiti’s precipitous economic decline. Gunboat diplomacy then ensured that the fledging nation could not advance its sovereignty. Consequently, the number of Haitian immigrants and refugees to the U.S. rose dramatically in the late 20th century, only to be rebuffed, sometimes violently—as Edwidge Danticat has documented in the memoir of her uncle’s death at the hands of immigration services, \u003cem>Brother, I’m Dying. \u003c/em>When journalists refer to Haiti as \u003ca href=\"https://www.nytimes.com/2021/07/07/world/americas/haiti-poverty-history.html#:~:text=Haiti%2C%20with%20a%20population%20of,country%20in%20the%20Western%20Hemisphere\" target=\"_blank\" rel=\"noopener noreferrer\">the poorest country in the Western Hemisphere\u003c/a> I don’t cringe, as others do, because I know this history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those of us who are native-born, immigrant, or of Haitian descent, and who have narrow ties to family or friends there, the avalanche of news from Haiti this summer has been wrenching, from gangs holding whole neighborhoods hostage, to the assassination of the President, to the news of an inconceivable earthquake in areas mostly untouched during the \u003ca href=\"https://www.npr.org/series/122522434/haiti-quake-ruin-and-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake of January 12, 2010\u003c/a>, which rocked Port-au-Prince, home to a little over 2 million, and left nearly 300,000 dead. The epicenter of the recent quake is toward the southwestern tip of the island of Hispaniola which Haiti shares with the Dominican Republic. Upon hearing the news, I hoped that it was offshore, subterranean, leaving those on firm land unaffected. But, within hours, the preliminary reports stated that loss of life would be significant, the damage pervasive. The only “good” news is that the capital appears untouched.\u003c/p>\n\u003ch3>Aid without consulting the suffering—a vicious cycle\u003c/h3>\n\u003cfigure id=\"attachment_13901716\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg\" alt=\"'Fault Lines: Views Across Haiti's Divide,' by Beverly Bell.\" width=\"200\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c-160x239.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Fault Lines: Views Across Haiti’s Divide,’ by Beverly Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>The first images out have come from Haitians themselves, circulated on social media. One man narrates his walk down a chaotic street filming collapsed buildings. “There were people there,” he says, “they probably died.” Then, “it looks like January 12.” It is those on the ground, already suffering losses of life and home who will start the work of recovery and reconstruction. Then, within very little time, those activating the principle of the \u003cem>konbit\u003c/em>, of the collective, will be pushed aside by larger entities who think they know better\u003cem>.\u003c/em>\u003c/p>\n\u003cp>A vicious cycle is about to reignite, the features of which are already predictable: Plans for reconstruction without consultation with those most affected, camps for displaced people, disaster capitalism. If readers do not remember what happened to aid after the 2010 earthquake, I would suggest they seek out Raoul Peck’s film, \u003cem>\u003ca href=\"https://www.nytimes.com/2014/02/28/movies/fatal-assistance-about-relief-efforts-in-haiti.html\" target=\"_blank\" rel=\"noopener noreferrer\">Fatal Assistance\u003c/a>\u003c/em>, and Beverly Bell’s book \u003cem>Fault Lines\u003c/em>, both of which document the period meticulously. The present moment requires us to recognize, as Bell writes, “for every home destroyed, a story of life or death.” Both the dead and those remaining are owed the respect of our not looking away.\u003c/p>\n\u003cp>That first night after the earthquake of 8/14, with the memories of 2010 returned, many chose to sleep outdoors, for fear of the earth swaying again, for fear of another collapse, whether or not they were themselves in newly affected areas. \u003ca href=\"https://www.sunypress.edu/p-6944-the-immortals.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Makenzy Orcel’s novel, \u003cem>The Immortals\u003c/em>\u003c/a>, gives voice to the weight of these recollections: “Imagine for a moment that the sky is made of concrete. That this thing lasted an eternity. That the earth can no longer stop shaking. That the sun can never come up again.”\u003c/p>\n\u003cp>Many of us don’t have to imagine: some lived it first-hand. For others, this is how the weight of the losses felt. Whether we were here, or there, we defy forgetting. What matters now is how, remembrance in hand, the next moments are faced. How all of us, together, can make sure that history does not repeat itself endlessly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Myriam J. A. Chancy’s new novel on the 2010 Haiti earthquake, \u003c/em>What Storm, What Thunder\u003cem> is forthcoming from Tin House in October.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haiti+Deserves+Careful+Attention.+An+Author+Recommends+4+Books+To+Help&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "R. Kelly and Britney TV Docs Tap Into 'Consequence Culture,' Not Cancel Culture",
"headTitle": "R. Kelly and Britney TV Docs Tap Into ‘Consequence Culture,’ Not Cancel Culture | KQED",
"content": "\u003cp>As the trial of disgraced R&B superstar R. Kelly \u003ca href=\"https://www.kqed.org/arts/13901400/opinion-13-years-after-the-last-r-kelly-trial-the-culture-has-changed\" target=\"_blank\" rel=\"noopener noreferrer\">unfolds\u003c/a>, it’s tough to imagine reaching this moment without the 2019 Lifetime docuseries \u003cem>Surviving R. Kelly\u003c/em>.\u003c/p>\n\u003cp>That’s because the six-part project seemed to transform public opinion about the singer in an instant, with detailed, harrowing accounts from women who said Kelly spent decades pursuing underage girls for sex and maintaining abusive relationships. Kelly has denied the allegations.\u003c/p>\n\u003cp>The public reaction—including prosecutors asking other potential victims to come forward and his longtime label, RCA, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dissolving its working relationship\u003c/a> with him—was surprising because journalists had been reporting on similar allegations against the singer since the late 1990s.\u003c/p>\n\u003cp>But cultural critic and filmmaker dream hampton, an executive producer on \u003cem>Surviving R. Kelly\u003c/em>, says this project hit the world in a crucial moment: Social media spread word quickly, a younger generation was less tolerant, and viewers were drawn in by the power of seeing a succession of survivors telling their stories directly to the camera.\u003c/p>\n\u003cp>“American history isn’t history until there’s a movie about it,” hampton says, wryly. “I was packaging \u003cem>Surviving R. Kelly\u003c/em> for people who probably didn’t read beyond the headlines. … That’s what I thought I could bring to it. There’s something about a visual [of] someone unpacking their story.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vbjnkvxIoSI\u003c/p>\n\u003ch3>A new genre for new sensibilities\u003c/h3>\n\u003cp>Turns out, \u003cem>Surviving R. Kelly \u003c/em>was one on a growing list of documentary projects challenging audiences to reconsider old controversies with fresh eyes, informed by the #MeToo movement’s revelations about harassment, assault and trauma. And those films could bring very tangible results.\u003c/p>\n\u003cp>In February, FX and Hulu’s film \u003cem>The New York Times Presents: Framing Britney Spears\u003c/em> jump-started public conversation about sexist, abusive media coverage of the pop star and the 2008 conservatorship that gave control of her finances to her father, Jamie Spears.\u003c/p>\n\u003cp>[aside postid='arts_13892800']HBO’s four-part \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> gave a detailed presentation of Dylan Farrow’s allegations from 1992 that her father, superstar director Woody Allen, molested her as a child (the filmmaker has denied those allegations). And HBO Max’s film \u003ca href=\"https://www.npr.org/2020/05/24/861630479/movie-review-on-the-record-with-russell-simmons-accusers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>On the Record\u003c/em>\u003c/a> debuted last year as a chilling account featuring several women who accused rap mogul Russell Simmons of sexual assault in incidents ranging back to the mid-1990s, which he has denied.\u003c/p>\n\u003cp>“I feel these documentaries could only have been made now … because the standards of accountability have changed,” says Poh Si Teng, producer of the documentary \u003cem>St. Louis Superman \u003c/em>and an executive at the International Documentary Association.\u003c/p>\n\u003cp>“The feedback from the web and social media platforms is so much faster, we are holding ourselves more accountable [as a society],” she adds. “In light of all the reckonings from the past year, especially after the murder of George Floyd and the pandemic, more and more filmmakers and participants are going to be bold. They’re going to be ready to speak now. … So these filmmakers can revisit all these old controversies [on] misogyny, conservatorship, child sexual abuse and rape in ways that they could not before.”\u003c/p>\n\u003ch3>Reconsidering media bullying of Britney\u003c/h3>\n\u003cp>Samantha Stark, director of \u003cem>Framing Britney Spears\u003c/em>, says she originally planned to just reexamine past media coverage of the pop star. After seeing how “incredibly misogynistic” it all was—demonstrated by a clip in the film of an interviewer asking Spears about her breasts—Stark and her team realized many of the journalists who had reported these stories were male.\u003c/p>\n\u003cp>“We just had this idea: What if we try to find women to interview instead?” she says. “We got a completely different picture of her: a woman who was business-savvy, who even as a teenager contributed creatively to her work, who had the stamina of an Olympic athlete and knew what she was doing … someone with agency.”\u003c/p>\n\u003cp>Then, the filmmakers discovered valid concerns about the fairness of Spears’ conservatorship, originally criticized by followers of the “Free Britney” movement. Suddenly, a fan uprising that some treated like a punchline was inspiring renewed public scrutiny. Most recently, Spears’ father has announced his intention to \u003ca href=\"https://www.kqed.org/arts/13901212\" target=\"_blank\" rel=\"noopener noreferrer\">step down from the conservatorship\u003c/a>, but with no definitive timetable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n1wRN5muenY\u003c/p>\n\u003cp>Stark says she thought about \u003cem>Surviving R. Kelly\u003c/em> while making her film, because both projects centered on contentions that people found tough to believe because the alleged abuse was happening in plain sight. And both projects also pointed out the complicity of the general public, which often laughed at comedians’ jokes about Spears’ mental health or Kelly’s proclivities without considering the darker truths behind the punchlines.\u003c/p>\n\u003cp>“I’m the same age as Britney, so when I was watching so much of the footage, I was reliving my [teenage years], when it was OK to bully people and shame them for being different,” says Stark, age 39. “It did feel like we weren’t ready for all these documentaries until now. We do, I think, listen to what women have to say more now.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']That’s an idea which resonates for Amy Ziering, co-director of both \u003cem>Allen v. Farrow\u003c/em> and \u003cem>On the Record\u003c/em> with longtime filmmaking partner Kirby Dick. Ziering says, when she was pitching potential distributors on their 2012 documentary about sexual assault in the military, \u003cem>The Invisible War\u003c/em>, she was told no one wanted to hear women’s stories—especially stories of women raped in the military.\u003c/p>\n\u003cp>Now, \u003cem>Allen v. Farrow\u003c/em> has seven Emmy nominations and \u003cem>On the Record\u003c/em> was part of HBO Max’s opening slate of original programs when the streaming platform launched in May 2020. These days, Ziering says, such films can perform a sort of pop culture jiu-jitsu—leveraging the celebrity that some stars have used to shield themselves to educate viewers, instead.\u003c/p>\n\u003cp>“Would anyone really care to watch a documentary about conservatorship … no, you watched because it was about Britney Spears,” she adds, saying \u003cem>Allen V. Farrow\u003c/em> dropped important information about how the court system treats custody cases and how allegations of incest are investigated. “What is lovely about these films is we get to capitalize on the culture of celebrity for good—not for marketing … but to actually enlighten people.”\u003c/p>\n\u003ch3>Not all films have the same impact\u003c/h3>\n\u003cp>Some critics say these films can be one-sided; Kelly, Allen and Simmons all declined requests to be interviewed for these projects and have denied the crimes they are accused of within them.\u003c/p>\n\u003cp>And not every project can have the impact filmmakers anticipate. Drew Dixon, a former record company executive whose accounts of being raped by Russell Simmons and sexually harassed by well-known producer/executive L.A. Reid form the center of \u003cem>On the Record\u003c/em>, says the film’s impact was blunted when media star Oprah Winfrey \u003ca href=\"https://www.nytimes.com/2020/01/17/movies/oprah-winfrey-russell-simmons-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\">pulled out as an executive producer \u003c/a>in early 2020.\u003c/p>\n\u003cp>“It’s almost worse than if she’d never been involved … [it] left this shadow of confusion and doubt around the film,” says Dixon. “A lot of the powerful voices in the Black community that could have drawn attention to the discussion about Black women and our unique vulnerability to sexual violence didn’t happen. And frankly, I feel more isolated now than I did before.”\u003c/p>\n\u003cp>The film, which also explores how Black women’s stories of harassment and assault may have been left out of the #MeToo movement, also faced criticism from some who viewed it as an attack on successful Black men. Both Dixon and \u003cem>Surviving R. Kelly\u003c/em>‘s dream hampton noted that the subjects of their films still retain support among some Black people, wary of a white-dominated media system going after stars once considered admirable examples of Black achievement.\u003c/p>\n\u003cp>[aside postid='arts_13875370']Still, Dixon says she has no regrets about participating in the film. “A proliferation of documentaries that center survivors and move the spotlight away from the famous, accused, powerful people … that’s really critically important,” she adds.” That’s how we really humanize the experience and the pain and the real cost of sexual violence for the people who have experienced it.”\u003c/p>\n\u003cp>Poh Si Teng of the International Documentary Association expects to see many more of these types of films produced, with a tangible impact on the public discourse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s not cancel culture,” she says, of the way some celebrities have seen their work sidelined after serious allegations. “It’s consequence culture.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+And+Britney+TV+Docs+Tap+Into+%27Consequence+Culture%2C%27+Not+Cancel+Culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the trial of disgraced R&B superstar R. Kelly \u003ca href=\"https://www.kqed.org/arts/13901400/opinion-13-years-after-the-last-r-kelly-trial-the-culture-has-changed\" target=\"_blank\" rel=\"noopener noreferrer\">unfolds\u003c/a>, it’s tough to imagine reaching this moment without the 2019 Lifetime docuseries \u003cem>Surviving R. Kelly\u003c/em>.\u003c/p>\n\u003cp>That’s because the six-part project seemed to transform public opinion about the singer in an instant, with detailed, harrowing accounts from women who said Kelly spent decades pursuing underage girls for sex and maintaining abusive relationships. Kelly has denied the allegations.\u003c/p>\n\u003cp>The public reaction—including prosecutors asking other potential victims to come forward and his longtime label, RCA, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dissolving its working relationship\u003c/a> with him—was surprising because journalists had been reporting on similar allegations against the singer since the late 1990s.\u003c/p>\n\u003cp>But cultural critic and filmmaker dream hampton, an executive producer on \u003cem>Surviving R. Kelly\u003c/em>, says this project hit the world in a crucial moment: Social media spread word quickly, a younger generation was less tolerant, and viewers were drawn in by the power of seeing a succession of survivors telling their stories directly to the camera.\u003c/p>\n\u003cp>“American history isn’t history until there’s a movie about it,” hampton says, wryly. “I was packaging \u003cem>Surviving R. Kelly\u003c/em> for people who probably didn’t read beyond the headlines. … That’s what I thought I could bring to it. There’s something about a visual [of] someone unpacking their story.”\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/vbjnkvxIoSI'\n title='//www.youtube.com/embed/vbjnkvxIoSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A new genre for new sensibilities\u003c/h3>\n\u003cp>Turns out, \u003cem>Surviving R. Kelly \u003c/em>was one on a growing list of documentary projects challenging audiences to reconsider old controversies with fresh eyes, informed by the #MeToo movement’s revelations about harassment, assault and trauma. And those films could bring very tangible results.\u003c/p>\n\u003cp>In February, FX and Hulu’s film \u003cem>The New York Times Presents: Framing Britney Spears\u003c/em> jump-started public conversation about sexist, abusive media coverage of the pop star and the 2008 conservatorship that gave control of her finances to her father, Jamie Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>HBO’s four-part \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> gave a detailed presentation of Dylan Farrow’s allegations from 1992 that her father, superstar director Woody Allen, molested her as a child (the filmmaker has denied those allegations). And HBO Max’s film \u003ca href=\"https://www.npr.org/2020/05/24/861630479/movie-review-on-the-record-with-russell-simmons-accusers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>On the Record\u003c/em>\u003c/a> debuted last year as a chilling account featuring several women who accused rap mogul Russell Simmons of sexual assault in incidents ranging back to the mid-1990s, which he has denied.\u003c/p>\n\u003cp>“I feel these documentaries could only have been made now … because the standards of accountability have changed,” says Poh Si Teng, producer of the documentary \u003cem>St. Louis Superman \u003c/em>and an executive at the International Documentary Association.\u003c/p>\n\u003cp>“The feedback from the web and social media platforms is so much faster, we are holding ourselves more accountable [as a society],” she adds. “In light of all the reckonings from the past year, especially after the murder of George Floyd and the pandemic, more and more filmmakers and participants are going to be bold. They’re going to be ready to speak now. … So these filmmakers can revisit all these old controversies [on] misogyny, conservatorship, child sexual abuse and rape in ways that they could not before.”\u003c/p>\n\u003ch3>Reconsidering media bullying of Britney\u003c/h3>\n\u003cp>Samantha Stark, director of \u003cem>Framing Britney Spears\u003c/em>, says she originally planned to just reexamine past media coverage of the pop star. After seeing how “incredibly misogynistic” it all was—demonstrated by a clip in the film of an interviewer asking Spears about her breasts—Stark and her team realized many of the journalists who had reported these stories were male.\u003c/p>\n\u003cp>“We just had this idea: What if we try to find women to interview instead?” she says. “We got a completely different picture of her: a woman who was business-savvy, who even as a teenager contributed creatively to her work, who had the stamina of an Olympic athlete and knew what she was doing … someone with agency.”\u003c/p>\n\u003cp>Then, the filmmakers discovered valid concerns about the fairness of Spears’ conservatorship, originally criticized by followers of the “Free Britney” movement. Suddenly, a fan uprising that some treated like a punchline was inspiring renewed public scrutiny. Most recently, Spears’ father has announced his intention to \u003ca href=\"https://www.kqed.org/arts/13901212\" target=\"_blank\" rel=\"noopener noreferrer\">step down from the conservatorship\u003c/a>, but with no definitive timetable.\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/n1wRN5muenY'\n title='//www.youtube.com/embed/n1wRN5muenY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stark says she thought about \u003cem>Surviving R. Kelly\u003c/em> while making her film, because both projects centered on contentions that people found tough to believe because the alleged abuse was happening in plain sight. And both projects also pointed out the complicity of the general public, which often laughed at comedians’ jokes about Spears’ mental health or Kelly’s proclivities without considering the darker truths behind the punchlines.\u003c/p>\n\u003cp>“I’m the same age as Britney, so when I was watching so much of the footage, I was reliving my [teenage years], when it was OK to bully people and shame them for being different,” says Stark, age 39. “It did feel like we weren’t ready for all these documentaries until now. We do, I think, listen to what women have to say more now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s an idea which resonates for Amy Ziering, co-director of both \u003cem>Allen v. Farrow\u003c/em> and \u003cem>On the Record\u003c/em> with longtime filmmaking partner Kirby Dick. Ziering says, when she was pitching potential distributors on their 2012 documentary about sexual assault in the military, \u003cem>The Invisible War\u003c/em>, she was told no one wanted to hear women’s stories—especially stories of women raped in the military.\u003c/p>\n\u003cp>Now, \u003cem>Allen v. Farrow\u003c/em> has seven Emmy nominations and \u003cem>On the Record\u003c/em> was part of HBO Max’s opening slate of original programs when the streaming platform launched in May 2020. These days, Ziering says, such films can perform a sort of pop culture jiu-jitsu—leveraging the celebrity that some stars have used to shield themselves to educate viewers, instead.\u003c/p>\n\u003cp>“Would anyone really care to watch a documentary about conservatorship … no, you watched because it was about Britney Spears,” she adds, saying \u003cem>Allen V. Farrow\u003c/em> dropped important information about how the court system treats custody cases and how allegations of incest are investigated. “What is lovely about these films is we get to capitalize on the culture of celebrity for good—not for marketing … but to actually enlighten people.”\u003c/p>\n\u003ch3>Not all films have the same impact\u003c/h3>\n\u003cp>Some critics say these films can be one-sided; Kelly, Allen and Simmons all declined requests to be interviewed for these projects and have denied the crimes they are accused of within them.\u003c/p>\n\u003cp>And not every project can have the impact filmmakers anticipate. Drew Dixon, a former record company executive whose accounts of being raped by Russell Simmons and sexually harassed by well-known producer/executive L.A. Reid form the center of \u003cem>On the Record\u003c/em>, says the film’s impact was blunted when media star Oprah Winfrey \u003ca href=\"https://www.nytimes.com/2020/01/17/movies/oprah-winfrey-russell-simmons-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\">pulled out as an executive producer \u003c/a>in early 2020.\u003c/p>\n\u003cp>“It’s almost worse than if she’d never been involved … [it] left this shadow of confusion and doubt around the film,” says Dixon. “A lot of the powerful voices in the Black community that could have drawn attention to the discussion about Black women and our unique vulnerability to sexual violence didn’t happen. And frankly, I feel more isolated now than I did before.”\u003c/p>\n\u003cp>The film, which also explores how Black women’s stories of harassment and assault may have been left out of the #MeToo movement, also faced criticism from some who viewed it as an attack on successful Black men. Both Dixon and \u003cem>Surviving R. Kelly\u003c/em>‘s dream hampton noted that the subjects of their films still retain support among some Black people, wary of a white-dominated media system going after stars once considered admirable examples of Black achievement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, Dixon says she has no regrets about participating in the film. “A proliferation of documentaries that center survivors and move the spotlight away from the famous, accused, powerful people … that’s really critically important,” she adds.” That’s how we really humanize the experience and the pain and the real cost of sexual violence for the people who have experienced it.”\u003c/p>\n\u003cp>Poh Si Teng of the International Documentary Association expects to see many more of these types of films produced, with a tangible impact on the public discourse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not cancel culture,” she says, of the way some celebrities have seen their work sidelined after serious allegations. “It’s consequence culture.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+And+Britney+TV+Docs+Tap+Into+%27Consequence+Culture%2C%27+Not+Cancel+Culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What is a Fiasco? Mike Richards Will Not Host 'Jeopardy!'",
"headTitle": "What is a Fiasco? Mike Richards Will Not Host ‘Jeopardy!’ | KQED",
"content": "\u003cp>Exactly a week ago, we gathered in this same internet space to discuss what a \u003ca href=\"https://www.npr.org/2021/08/13/1027426388/jeopardy-host-mike-richards\" target=\"_blank\" rel=\"noopener noreferrer\">complete mess had been made\u003c/a> of the search for a host to succeed Alex Trebek on \u003cem>Jeopardy! \u003c/em>After months of guest-host stints that were received as tryouts but were perhaps not tryouts after all, executive producer Mike Richards was announced as the next host. There were a lot of very carefully worded descriptions of said messy process, as it certainly wouldn’t have been Richards alone who chose the next host. But the undercurrent of a lot of the public reaction was not that different from what it would have been if the headlines had just said, “Man Looks Far And Wide To Find Perfect Candidate For Coveted Job: Self.”\u003c/p>\n\u003cp>But now, a different headline: “Man Quits Job, Keeps Job In Which He Gave Himself That Job.”\u003c/p>\n\u003cp>Richards \u003ca href=\"https://www.npr.org/2021/08/20/1029650746/jeopardy-host-mike-richards-steps-down\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down from the days-old hosting gig\u003c/a> in a note on Friday morning, saying that it was clear to him that he would be “a distraction” as a host. He apologized not for any of his behavior, but for the “unwanted negative attention” that the show had experienced, and the “confusion and delays” that the shuffle was creating. He apparently intends to stay on as the boss.\u003c/p>\n\u003cp>[aside postid='pop_96696']It was a fittingly sloppy end to this effort. From the moment Richards was announced, the whole thing had been called out as disingenuous, sketchy, shady, whatever words you prefer—even for a lot of people who thought Richards had been a good guest host substantively, the process left a bad taste.\u003c/p>\n\u003cp>And then came the \u003ca href=\"https://variety.com/2021/tv/news/mike-richards-jeopardy-price-is-right-lawsuit-1235037434/\" target=\"_blank\" rel=\"noopener noreferrer\">discussions of past discrimination lawsuits\u003c/a> at \u003cem>The Price Is Right\u003c/em>, the show where he used to work (uh-oh!), even though Richards assured everyone that “the way in which my comments and actions have been characterized in these complaints does not reflect the reality of who I am or how we worked together on \u003cem>The Price Is Right\u003c/em>.” Okay, then! Doesn’t reflect the reality of who you are, doesn’t reflect how you work? Everything’s fine! Maybe this would do it, as far as tamping down the criticism?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was not to be. Claire McNear’s reporting at \u003cem>The Ringer\u003c/em>, in particular, \u003ca href=\"https://www.theringer.com/tv/2021/8/18/22631299/mike-richards-jeopardy-host-search-process-past-comments\" target=\"_blank\" rel=\"noopener noreferrer\">kept coming\u003c/a>. She talked to more people about Richards as a producer, and she found old episodes from a \u003cem>The Price Is Right\u003c/em> behind-the-scenes podcast literally called \u003cem>The Randumb Show.\u003c/em> (My friends… I beg you, don’t call your work-related podcast that). In that show, Richards made a variety of remarks about women and their bodies and how they dress—he refers to his own co-host’s past modeling work being a “booth slut” and “booth ho.” This was in 2013-14, \u003cem>after \u003c/em>the lawsuits in which models claimed the environment at \u003cem>The Price Is Right\u003c/em> was harassing and discriminatory. So when \u003ca href=\"https://variety.com/2021/tv/news/jeopardy-mike-richards-host-producer-podcast-1235044209/\" target=\"_blank\" rel=\"noopener noreferrer\">he said later\u003c/a> that he now realizes how unacceptable those comments were, it was hard not to wonder how having seen his show sued over its treatment of models wasn’t adequate to suggest to him that he should pull back from calling his co-host a “booth slut.”\u003c/p>\n\u003cp>These remarks also happened on episodes that McNear says were pulled off the internet and their hosting site deleted after \u003cem>The Ringer\u003c/em> asked about them. In a sequence of events already plagued by bad optics, this was… well, it was more bad optics.\u003c/p>\n\u003cp>Fast-forward a couple of days, and his time as host (or pre-host, or putative host, or host-in-waiting) is over.\u003c/p>\n\u003cp>It’s temping to take this apart piece by piece, isolate the individual bits of information that seemed to put this situation over the top. But really, why? This went in a maddeningly predictable way. It was like watching a rubber ball bounce down a flight of stairs: isolated parts of the trajectory might be surprising, but the end result was always going to be the same. This was always a bad idea, and it got worse, and they dug in their heels and tried to ride it out, and it got worse again, and now it’s over. It’s an utterly unforced error from a show that had every opportunity to find someone who would not have had to resign, \u003cem>as the putative host of \u003c/em>Jeopardy! \u003cem>for crying out loud\u003c/em>, for being too controversial.\u003c/p>\n\u003cp>Two questions remain.\u003c/p>\n\u003cp>First, in a world in which every choice like this is scrutinized, was Claire McNear really the first person to raise questions about that podcast? Why wouldn’t there be someone involved in the process whose job it was, given the fact that there had been lawsuits directed at \u003cem>The Price Is Right \u003c/em>during his tenure, to listen to what he was saying about the show while he was working on it? It’s true that you can’t vet everything, but it’s also true that if a guy wants to make a show about work called \u003cem>The Randumb Show\u003c/em>, you might want to send an intern over to transcribe a couple episodes for you, just to make sure it’s not this. Did they do it and hope it wouldn’t come out, or did they not do it at all?\u003c/p>\n\u003cp>[aside postid='arts_13901062']And second, how does Richards continue in his producing role? However unfair he likely finds it, the story of his Extremely Loud And Incredibly Short tenure as the host of one of the calmest and most dignified syndicated shows on television is going to be that he gave himself the job and then had to bail after he got caught calling women “slut” and “ho” on a podcast that, again, was made behind the scenes of a show where \u003cem>he was managing people\u003c/em>.\u003c/p>\n\u003cp>Is it the intent that he would now oversee a new host selection process? That he would be the person a candidate would sit down with, who would say, “What do you think makes you right for this job?” And that this candidate would have to resist saying, “I have never made a podcast with ‘dumb’ in the title at any of my workplaces?”\u003c/p>\n\u003cp>If anything, you can argue that it’s more pressing that Richards be relieved of the EP job than of the hosting job, and that the only reason he’d leave the latter and not the former is that he’s leaving the one that draws more attention and thus more fire. The substantive problem with these remarks is not that he was somehow going to make them on the air on \u003cem>Jeopardy! \u003c/em>in his capacity as host, since he probably wasn’t going to call anyone a slut while calling on her during the Daily Double. The substantive problem with these remarks is the attitude they convey, and in the context of management jobs, the environment they could create for employees.\u003c/p>\n\u003cp>It comes down, honestly, to this: How do you leave someone in charge of your show who opened with a catastrophic handling of the biggest possible executive producing task, apparently to his own benefit? And how do you make someone the boss who didn’t meet the character requirements to be the host?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stay tuned. Perhaps the implosion isn’t even over.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Is+A+Fiasco%3F+Mike+Richards+Will+Not+Host+%27Jeopardy%21%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exactly a week ago, we gathered in this same internet space to discuss what a \u003ca href=\"https://www.npr.org/2021/08/13/1027426388/jeopardy-host-mike-richards\" target=\"_blank\" rel=\"noopener noreferrer\">complete mess had been made\u003c/a> of the search for a host to succeed Alex Trebek on \u003cem>Jeopardy! \u003c/em>After months of guest-host stints that were received as tryouts but were perhaps not tryouts after all, executive producer Mike Richards was announced as the next host. There were a lot of very carefully worded descriptions of said messy process, as it certainly wouldn’t have been Richards alone who chose the next host. But the undercurrent of a lot of the public reaction was not that different from what it would have been if the headlines had just said, “Man Looks Far And Wide To Find Perfect Candidate For Coveted Job: Self.”\u003c/p>\n\u003cp>But now, a different headline: “Man Quits Job, Keeps Job In Which He Gave Himself That Job.”\u003c/p>\n\u003cp>Richards \u003ca href=\"https://www.npr.org/2021/08/20/1029650746/jeopardy-host-mike-richards-steps-down\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down from the days-old hosting gig\u003c/a> in a note on Friday morning, saying that it was clear to him that he would be “a distraction” as a host. He apologized not for any of his behavior, but for the “unwanted negative attention” that the show had experienced, and the “confusion and delays” that the shuffle was creating. He apparently intends to stay on as the boss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was a fittingly sloppy end to this effort. From the moment Richards was announced, the whole thing had been called out as disingenuous, sketchy, shady, whatever words you prefer—even for a lot of people who thought Richards had been a good guest host substantively, the process left a bad taste.\u003c/p>\n\u003cp>And then came the \u003ca href=\"https://variety.com/2021/tv/news/mike-richards-jeopardy-price-is-right-lawsuit-1235037434/\" target=\"_blank\" rel=\"noopener noreferrer\">discussions of past discrimination lawsuits\u003c/a> at \u003cem>The Price Is Right\u003c/em>, the show where he used to work (uh-oh!), even though Richards assured everyone that “the way in which my comments and actions have been characterized in these complaints does not reflect the reality of who I am or how we worked together on \u003cem>The Price Is Right\u003c/em>.” Okay, then! Doesn’t reflect the reality of who you are, doesn’t reflect how you work? Everything’s fine! Maybe this would do it, as far as tamping down the criticism?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not to be. Claire McNear’s reporting at \u003cem>The Ringer\u003c/em>, in particular, \u003ca href=\"https://www.theringer.com/tv/2021/8/18/22631299/mike-richards-jeopardy-host-search-process-past-comments\" target=\"_blank\" rel=\"noopener noreferrer\">kept coming\u003c/a>. She talked to more people about Richards as a producer, and she found old episodes from a \u003cem>The Price Is Right\u003c/em> behind-the-scenes podcast literally called \u003cem>The Randumb Show.\u003c/em> (My friends… I beg you, don’t call your work-related podcast that). In that show, Richards made a variety of remarks about women and their bodies and how they dress—he refers to his own co-host’s past modeling work being a “booth slut” and “booth ho.” This was in 2013-14, \u003cem>after \u003c/em>the lawsuits in which models claimed the environment at \u003cem>The Price Is Right\u003c/em> was harassing and discriminatory. So when \u003ca href=\"https://variety.com/2021/tv/news/jeopardy-mike-richards-host-producer-podcast-1235044209/\" target=\"_blank\" rel=\"noopener noreferrer\">he said later\u003c/a> that he now realizes how unacceptable those comments were, it was hard not to wonder how having seen his show sued over its treatment of models wasn’t adequate to suggest to him that he should pull back from calling his co-host a “booth slut.”\u003c/p>\n\u003cp>These remarks also happened on episodes that McNear says were pulled off the internet and their hosting site deleted after \u003cem>The Ringer\u003c/em> asked about them. In a sequence of events already plagued by bad optics, this was… well, it was more bad optics.\u003c/p>\n\u003cp>Fast-forward a couple of days, and his time as host (or pre-host, or putative host, or host-in-waiting) is over.\u003c/p>\n\u003cp>It’s temping to take this apart piece by piece, isolate the individual bits of information that seemed to put this situation over the top. But really, why? This went in a maddeningly predictable way. It was like watching a rubber ball bounce down a flight of stairs: isolated parts of the trajectory might be surprising, but the end result was always going to be the same. This was always a bad idea, and it got worse, and they dug in their heels and tried to ride it out, and it got worse again, and now it’s over. It’s an utterly unforced error from a show that had every opportunity to find someone who would not have had to resign, \u003cem>as the putative host of \u003c/em>Jeopardy! \u003cem>for crying out loud\u003c/em>, for being too controversial.\u003c/p>\n\u003cp>Two questions remain.\u003c/p>\n\u003cp>First, in a world in which every choice like this is scrutinized, was Claire McNear really the first person to raise questions about that podcast? Why wouldn’t there be someone involved in the process whose job it was, given the fact that there had been lawsuits directed at \u003cem>The Price Is Right \u003c/em>during his tenure, to listen to what he was saying about the show while he was working on it? It’s true that you can’t vet everything, but it’s also true that if a guy wants to make a show about work called \u003cem>The Randumb Show\u003c/em>, you might want to send an intern over to transcribe a couple episodes for you, just to make sure it’s not this. Did they do it and hope it wouldn’t come out, or did they not do it at all?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And second, how does Richards continue in his producing role? However unfair he likely finds it, the story of his Extremely Loud And Incredibly Short tenure as the host of one of the calmest and most dignified syndicated shows on television is going to be that he gave himself the job and then had to bail after he got caught calling women “slut” and “ho” on a podcast that, again, was made behind the scenes of a show where \u003cem>he was managing people\u003c/em>.\u003c/p>\n\u003cp>Is it the intent that he would now oversee a new host selection process? That he would be the person a candidate would sit down with, who would say, “What do you think makes you right for this job?” And that this candidate would have to resist saying, “I have never made a podcast with ‘dumb’ in the title at any of my workplaces?”\u003c/p>\n\u003cp>If anything, you can argue that it’s more pressing that Richards be relieved of the EP job than of the hosting job, and that the only reason he’d leave the latter and not the former is that he’s leaving the one that draws more attention and thus more fire. The substantive problem with these remarks is not that he was somehow going to make them on the air on \u003cem>Jeopardy! \u003c/em>in his capacity as host, since he probably wasn’t going to call anyone a slut while calling on her during the Daily Double. The substantive problem with these remarks is the attitude they convey, and in the context of management jobs, the environment they could create for employees.\u003c/p>\n\u003cp>It comes down, honestly, to this: How do you leave someone in charge of your show who opened with a catastrophic handling of the biggest possible executive producing task, apparently to his own benefit? And how do you make someone the boss who didn’t meet the character requirements to be the host?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stay tuned. Perhaps the implosion isn’t even over.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Is+A+Fiasco%3F+Mike+Richards+Will+Not+Host+%27Jeopardy%21%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "That Viral TikTok Joke About Country Music is an Actual Country Music Song Now",
"headTitle": "That Viral TikTok Joke About Country Music is an Actual Country Music Song Now | KQED",
"content": "\u003cp>“Could be a hit,” country artist \u003ca href=\"https://www.tiktok.com/@georgebirgeofficial?\" target=\"_blank\" rel=\"noopener noreferrer\">George Birge\u003c/a> says with a shrug and a smile at the end of a TikTok video from last year. He was stitching a video posted by fellow \u003ca href=\"https://www.tiktok.com/@rynnstar?\" target=\"_blank\" rel=\"noopener noreferrer\">TikToker Erynn Chambers\u003c/a>, in which she satirizes the difference in subject matter that men and women in mainstream country music typically sing about. Birge added a melody and a few more lyrics, and a coy tagline: “if this blows up ill [sic] finish the song and release it.”\u003c/p>\n\u003cp>Birge was right on both accounts: His TikTok did blow up, and the full version of the song, which he released in June, is currently a minor hit. It was one of the top 10 most added new singles for country radio on the day it was sent to stations last week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=afb-H8fqkJ4&t=48s\u003c/p>\n\u003cp>“Beer Beer, Truck Truck” is not the first song to spring from TikTok to the radio, but here’s how it all came together over the last 10 months.\u003c/p>\n\u003ch3>“Girls in tight jeans” vs. “I destroyed everything he loved—and then I killed him”\u003c/h3>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=JXAgv665J14\" target=\"_blank\" rel=\"noopener noreferrer\">Boys ‘Round Here\u003c/a>,” Blake Shelton sings about how he and his friends aren’t like your normal guys who listen to The Beatles or do the Dougie. Blake and his boys keep it country by drinking ice cold beers while “runnin’ them red dirt roads out, kicking up dust.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=WaSy8yy-mr8\" target=\"_blank\" rel=\"noopener noreferrer\">Before He Cheats\u003c/a>,” Carrie Underwood laments her partner’s infidelity using her writer’s pen, a set of keys and a Louisville Slugger in a passionate fit of property damage.\u003c/p>\n\u003cp>[aside postid='arts_13875953']Meanwhile, in “\u003ca href=\"https://www.youtube.com/watch?v=Mdh2p03cRfw\" target=\"_blank\" rel=\"noopener noreferrer\">Body Like a Backroad\u003c/a>,” Sam Hunt sings about how his partner has “hips like honey” and about the “way she fit in them blue jeans.”\u003c/p>\n\u003cp>And again in “\u003ca href=\"https://www.youtube.com/watch?v=IEPomqor2A8\" target=\"_blank\" rel=\"noopener noreferrer\">No Body, No Crime\u003c/a>,” Taylor Swift and HAIM tell the tale of a woman avenging her best friend’s murder at the hands of an unfaithful husband—and then destroying all the evidence.\u003c/p>\n\u003cp>“A lot of men’s country is ‘the beers’ and ‘the trucks’ and that kind of thing,” Erynn Chambers says. “And then women’s country is like revenge songs on their cheating husbands.”\u003c/p>\n\u003cp>Chambers, a music teacher with a popular TikTok account where she posts educational and social justice related content, decided to poke fun at this stereotype. In October 2020, she posted a video of herself depicting a male country artist, singing the lyrics “beer beer, truck truck, girls in tight jeans,” with the caption “men in country music,” above her head. As for her female country artist? Yeah, she killed her cheating husband.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rynnstar/video/6884621398111816966\" data-video-id=\"6884621398111816966\">\n\u003csection>\u003ca title=\"@rynnstar\" href=\"https://www.tiktok.com/@rynnstar\" target=\"_blank\" rel=\"noopener noreferrer\">@rynnstar\u003c/a>\u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#CountryMusic\u003c/a> \u003ca title=\"♬ original sound - Rynn\" href=\"https://www.tiktok.com/music/original-sound-6884621469750594310\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rynn\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>The video went viral; it currently has 1.8 million likes, over 67,000 shares, and 27,000-plus comments—many of which were polarized, either praising Chambers for her humor and cultural insight or criticizing her for what they thought was an unfair reduction of the genre.\u003c/p>\n\u003ch3>A self-issued songwriting challenge\u003c/h3>\n\u003cp>When country artist George Birge, one of the 5.6 million viewers, first saw the video, he was at a crossroads in his career. Until February of this year, Birge was one half of the country duo Waterloo Revival, but was unsatisfied with its level of success; at that point, he was having more luck writing for other artists and was considering ending his singing career altogether.\u003c/p>\n\u003cp>It was at a writing session with fellow country artist Clay Walker, one of his idols, when Birge first learned about TikTok as a tool to grow his platform.\u003c/p>\n\u003cp>“We had finished writing for the day and he was like, ‘Dude, you just need to get on Tiktok and put your songs on there,’ which was like the last thing I expected,” Birge says—but he ended up taking the advice.\u003c/p>\n\u003cp>[aside postid='arts_13870376']“As musicians, we go grind it out and play to 100 or 1,000 or a couple of thousand people a night,” he says. “But if you do something that catches fire on TikTok, you can get in front of a million people instantly, and so that kind of piqued my interest.”\u003c/p>\n\u003cp>Birge found Chambers’ video in the country music hashtag, one of the first places he went after he made his account.\u003c/p>\n\u003cp>“My first reaction was like, ‘Yeah, she makes a really good point,’ ” he says. “But my second reaction was kind of like, ‘OK, it’d be fun to take this as a challenge and see if I can write a legitimate song using her hook up at the top.’ ”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@georgebirgeofficial/video/6908404290574961926\" data-video-id=\"6908404290574961926\">\n\u003csection>\u003ca title=\"@georgebirgeofficial\" href=\"https://www.tiktok.com/@georgebirgeofficial\" target=\"_blank\" rel=\"noopener noreferrer\">@georgebirgeofficial\u003c/a>If y’all blow this up I may have to finish it and release it, should we write the whole thing @rynnstar 🔥 \u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#countrymusic\u003c/a> \u003ca title=\"country\" href=\"https://www.tiktok.com/tag/country\" target=\"_blank\" rel=\"noopener noreferrer\">#country\u003c/a> \u003ca title=\"originalsong\" href=\"https://www.tiktok.com/tag/originalsong\" target=\"_blank\" rel=\"noopener noreferrer\">#originalsong\u003c/a>\u003ca title=\"♬ original sound - George Birge\" href=\"https://www.tiktok.com/music/original-sound-6908404270417201926\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – George Birge\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>To Birge, Chambers’ TikTok parody poking fun at the genre his life revolves around had all the ingredients for a bonafide country hit.\u003c/p>\n\u003cp>“We always say that the best country songs are the ones that get stuck in your head, that are easy to remember, that you can sing back after one [listen],” he says. “And even though she is kind of doing it in jest—that ‘beer beer, truck truck’ hook she did off the top—I feel like that could be something that could burn in your brain and be a big country hook, so I kind of took it and ran with it.”\u003c/p>\n\u003cp>That same day, Birge wrote a melody for the chorus and added a few more lines. He posted a stitch of him singing the new version in December 2020, and it quickly took off. People made it clear they wanted to hear a full song.\u003c/p>\n\u003ch3>TikTok has not, in fact, killed the radio star\u003c/h3>\n\u003cp>In early January, Birge called his friend and producer, Ash Bowers, and asked him to come over and help him record the song.\u003c/p>\n\u003cp>“So we got on his computer and recorded a demo in like three hours,” Birge says. He posted another TikTok of himself playing the full version from his car speakers—\u003ca href=\"https://www.tiktok.com/@georgebirgeofficial/video/6912460114561649926\">that got 2.6 million views\u003c/a>—and that’s when “almost every record label in Nashville started calling me, asking to take meetings,” he says. Birge signed with RECORDS Nashville and had a studio version recorded by February.\u003c/p>\n\u003cp>[aside postid='arts_13866382']What emerged was “Beer Beer, Truck Truck,” in which Birge takes Chambers’ jesting chorus and turns it into a genuinely sweet ballad. With new lyrics about driving down dirt roads and spending summer nights staring at the stars, the song’s narrator tries to convince his lost love—who gave up her life in the country for the big city filled with bright lights and endless opportunity—that country life \u003cem>isn’t\u003c/em> all beers and trucks.\u003c/p>\n\u003cp>When he posted the initial TikTok, Birge says he had six followers. Now, he has just over 160,000. Likewise, Chambers’ account has ballooned to over 700,000 followers, with just over 70 million likes.\u003c/p>\n\u003cp>“I certainly didn’t think I was going to grow a big audience with it,” she says. As someone who grew up loving country music and just wanted to make a fun parody, she says her TikTok’s success “was never a thing that I was thinking was going to happen.” She never imagined that she’d have writing credits on a song in radio rotation and with over 4 million streams, either.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s really an honor and a privilege and a shock to see something that I came up with on the fly really connect with people and go out there like that,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Joke+TikTok+About+Country+Music+Stereotypes+Hit+The+Radio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Could be a hit,” country artist \u003ca href=\"https://www.tiktok.com/@georgebirgeofficial?\" target=\"_blank\" rel=\"noopener noreferrer\">George Birge\u003c/a> says with a shrug and a smile at the end of a TikTok video from last year. He was stitching a video posted by fellow \u003ca href=\"https://www.tiktok.com/@rynnstar?\" target=\"_blank\" rel=\"noopener noreferrer\">TikToker Erynn Chambers\u003c/a>, in which she satirizes the difference in subject matter that men and women in mainstream country music typically sing about. Birge added a melody and a few more lyrics, and a coy tagline: “if this blows up ill [sic] finish the song and release it.”\u003c/p>\n\u003cp>Birge was right on both accounts: His TikTok did blow up, and the full version of the song, which he released in June, is currently a minor hit. It was one of the top 10 most added new singles for country radio on the day it was sent to stations last week.\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/afb-H8fqkJ4'\n title='//www.youtube.com/embed/afb-H8fqkJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Beer Beer, Truck Truck” is not the first song to spring from TikTok to the radio, but here’s how it all came together over the last 10 months.\u003c/p>\n\u003ch3>“Girls in tight jeans” vs. “I destroyed everything he loved—and then I killed him”\u003c/h3>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=JXAgv665J14\" target=\"_blank\" rel=\"noopener noreferrer\">Boys ‘Round Here\u003c/a>,” Blake Shelton sings about how he and his friends aren’t like your normal guys who listen to The Beatles or do the Dougie. Blake and his boys keep it country by drinking ice cold beers while “runnin’ them red dirt roads out, kicking up dust.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=WaSy8yy-mr8\" target=\"_blank\" rel=\"noopener noreferrer\">Before He Cheats\u003c/a>,” Carrie Underwood laments her partner’s infidelity using her writer’s pen, a set of keys and a Louisville Slugger in a passionate fit of property damage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, in “\u003ca href=\"https://www.youtube.com/watch?v=Mdh2p03cRfw\" target=\"_blank\" rel=\"noopener noreferrer\">Body Like a Backroad\u003c/a>,” Sam Hunt sings about how his partner has “hips like honey” and about the “way she fit in them blue jeans.”\u003c/p>\n\u003cp>And again in “\u003ca href=\"https://www.youtube.com/watch?v=IEPomqor2A8\" target=\"_blank\" rel=\"noopener noreferrer\">No Body, No Crime\u003c/a>,” Taylor Swift and HAIM tell the tale of a woman avenging her best friend’s murder at the hands of an unfaithful husband—and then destroying all the evidence.\u003c/p>\n\u003cp>“A lot of men’s country is ‘the beers’ and ‘the trucks’ and that kind of thing,” Erynn Chambers says. “And then women’s country is like revenge songs on their cheating husbands.”\u003c/p>\n\u003cp>Chambers, a music teacher with a popular TikTok account where she posts educational and social justice related content, decided to poke fun at this stereotype. In October 2020, she posted a video of herself depicting a male country artist, singing the lyrics “beer beer, truck truck, girls in tight jeans,” with the caption “men in country music,” above her head. As for her female country artist? Yeah, she killed her cheating husband.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rynnstar/video/6884621398111816966\" data-video-id=\"6884621398111816966\">\n\u003csection>\u003ca title=\"@rynnstar\" href=\"https://www.tiktok.com/@rynnstar\" target=\"_blank\" rel=\"noopener noreferrer\">@rynnstar\u003c/a>\u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#CountryMusic\u003c/a> \u003ca title=\"♬ original sound - Rynn\" href=\"https://www.tiktok.com/music/original-sound-6884621469750594310\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rynn\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The video went viral; it currently has 1.8 million likes, over 67,000 shares, and 27,000-plus comments—many of which were polarized, either praising Chambers for her humor and cultural insight or criticizing her for what they thought was an unfair reduction of the genre.\u003c/p>\n\u003ch3>A self-issued songwriting challenge\u003c/h3>\n\u003cp>When country artist George Birge, one of the 5.6 million viewers, first saw the video, he was at a crossroads in his career. Until February of this year, Birge was one half of the country duo Waterloo Revival, but was unsatisfied with its level of success; at that point, he was having more luck writing for other artists and was considering ending his singing career altogether.\u003c/p>\n\u003cp>It was at a writing session with fellow country artist Clay Walker, one of his idols, when Birge first learned about TikTok as a tool to grow his platform.\u003c/p>\n\u003cp>“We had finished writing for the day and he was like, ‘Dude, you just need to get on Tiktok and put your songs on there,’ which was like the last thing I expected,” Birge says—but he ended up taking the advice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As musicians, we go grind it out and play to 100 or 1,000 or a couple of thousand people a night,” he says. “But if you do something that catches fire on TikTok, you can get in front of a million people instantly, and so that kind of piqued my interest.”\u003c/p>\n\u003cp>Birge found Chambers’ video in the country music hashtag, one of the first places he went after he made his account.\u003c/p>\n\u003cp>“My first reaction was like, ‘Yeah, she makes a really good point,’ ” he says. “But my second reaction was kind of like, ‘OK, it’d be fun to take this as a challenge and see if I can write a legitimate song using her hook up at the top.’ ”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@georgebirgeofficial/video/6908404290574961926\" data-video-id=\"6908404290574961926\">\n\u003csection>\u003ca title=\"@georgebirgeofficial\" href=\"https://www.tiktok.com/@georgebirgeofficial\" target=\"_blank\" rel=\"noopener noreferrer\">@georgebirgeofficial\u003c/a>If y’all blow this up I may have to finish it and release it, should we write the whole thing @rynnstar 🔥 \u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#countrymusic\u003c/a> \u003ca title=\"country\" href=\"https://www.tiktok.com/tag/country\" target=\"_blank\" rel=\"noopener noreferrer\">#country\u003c/a> \u003ca title=\"originalsong\" href=\"https://www.tiktok.com/tag/originalsong\" target=\"_blank\" rel=\"noopener noreferrer\">#originalsong\u003c/a>\u003ca title=\"♬ original sound - George Birge\" href=\"https://www.tiktok.com/music/original-sound-6908404270417201926\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – George Birge\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Birge, Chambers’ TikTok parody poking fun at the genre his life revolves around had all the ingredients for a bonafide country hit.\u003c/p>\n\u003cp>“We always say that the best country songs are the ones that get stuck in your head, that are easy to remember, that you can sing back after one [listen],” he says. “And even though she is kind of doing it in jest—that ‘beer beer, truck truck’ hook she did off the top—I feel like that could be something that could burn in your brain and be a big country hook, so I kind of took it and ran with it.”\u003c/p>\n\u003cp>That same day, Birge wrote a melody for the chorus and added a few more lines. He posted a stitch of him singing the new version in December 2020, and it quickly took off. People made it clear they wanted to hear a full song.\u003c/p>\n\u003ch3>TikTok has not, in fact, killed the radio star\u003c/h3>\n\u003cp>In early January, Birge called his friend and producer, Ash Bowers, and asked him to come over and help him record the song.\u003c/p>\n\u003cp>“So we got on his computer and recorded a demo in like three hours,” Birge says. He posted another TikTok of himself playing the full version from his car speakers—\u003ca href=\"https://www.tiktok.com/@georgebirgeofficial/video/6912460114561649926\">that got 2.6 million views\u003c/a>—and that’s when “almost every record label in Nashville started calling me, asking to take meetings,” he says. Birge signed with RECORDS Nashville and had a studio version recorded by February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What emerged was “Beer Beer, Truck Truck,” in which Birge takes Chambers’ jesting chorus and turns it into a genuinely sweet ballad. With new lyrics about driving down dirt roads and spending summer nights staring at the stars, the song’s narrator tries to convince his lost love—who gave up her life in the country for the big city filled with bright lights and endless opportunity—that country life \u003cem>isn’t\u003c/em> all beers and trucks.\u003c/p>\n\u003cp>When he posted the initial TikTok, Birge says he had six followers. Now, he has just over 160,000. Likewise, Chambers’ account has ballooned to over 700,000 followers, with just over 70 million likes.\u003c/p>\n\u003cp>“I certainly didn’t think I was going to grow a big audience with it,” she says. As someone who grew up loving country music and just wanted to make a fun parody, she says her TikTok’s success “was never a thing that I was thinking was going to happen.” She never imagined that she’d have writing credits on a song in radio rotation and with over 4 million streams, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s really an honor and a privilege and a shock to see something that I came up with on the fly really connect with people and go out there like that,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Joke+TikTok+About+Country+Music+Stereotypes+Hit+The+Radio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's Film Critic Explores Why the Harrowing Afghanistan Images May Feel Familiar",
"headTitle": "NPR’s Film Critic Explores Why the Harrowing Afghanistan Images May Feel Familiar | KQED",
"content": "\u003cp>Looking at the\u003ca href=\"https://www.npr.org/2021/08/16/1028090002/afghanistan-airport-evacuation-taliban\" target=\"_blank\" rel=\"noopener noreferrer\"> newscast images\u003c/a> this week of Afghans \u003ca href=\"http://npr.org/2021/08/17/1028564790/u-s-is-reviewing-the-deaths-of-people-who-may-have-fallen-from-a-plane-leaving-k\" target=\"_blank\" rel=\"noopener noreferrer\">desperate to flee\u003c/a> the Taliban, I’ve been struck again and again by the feeling that the horrors I’m watching in real time are somehow familiar.\u003c/p>\n\u003cp>A throwaway line in a newspaper article cued me as to why. In a report on Biden administration figures who had urged caution in drawing down U.S. forces, Secretary of Defense Lloyd Austin III, was quoted as having told the President, \u003ca href=\"https://www.washingtonpost.com/entertainment/afghanistan-movies-hornaday/2021/08/17/5215eaaa-feb2-11eb-a664-4f6de3e17ff0_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">“we’ve seen this movie before.”\u003c/a>\u003c/p>\n\u003cp>[aside postid='news_11885170']And in several senses, that’s exactly right. Reasonable people may disagree about which movie, but we have all seen it. The recently confirmed Secretary of Defense clearly meant the phrase in a metaphorical sense, but America’s military adventures have been chronicled extensively enough that there’s some truth to the assertion even as fact.\u003c/p>\n\u003ch3>The haunted gaze of children who’d known only war\u003c/h3>\n\u003cp>Documentaries from the black-site interrogation expose \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18212203\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Taxi to the Dark Side, \u003c/em>\u003c/a>to\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128081316\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Restrepo, \u003c/em>\u003c/a>which chronicled the tragic human cost of securing an Afghan valley that would be given-up just months after U.S. soldiers left, had offered glimpses of everyday life in the country. Wary villagers, the haunted gaze of children who’d only known war, battle-scarred buildings—all so commonplace as to seem almost unremarkable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eLMaPOuEA4Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://www.npr.org/2012/12/19/166896991/shedding-grim-light-on-a-dark-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zero Dark Thirty\u003c/em>, \u003c/a>when Kathryn Bigelow recreated the mission that struck across the Afghan border into Pakistan to take out Osama Bin Laden, her portrait of the society in which the Americans were operating felt as authentic as news footage, and flash-edited and scored with a pounding soundtrack, arguably packed more punch.\u003c/p>\n\u003ch3>‘A place of warring tribes’\u003c/h3>\n\u003cp>This sort of verisimilitude is a relatively recent development, but it augments an already pervasive and unflattering portrait of the region. For roughly half a century Hollywood has used Afghans as background figures for fictional stories in which outsiders consistently underestimate their grit and determination. Afghanistan is “a place of warring tribes,” as Michael Caine’s con-man put it in \u003cem>The Man Who Would Be King\u003c/em>, “which is to say a land of opportunity for such as we.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W6Qf98Wa6VY\u003c/p>\n\u003cp>That 1975 John Huston epic was based on a story Rudyard Kipling had written in 1888, between unsuccessful second and third(!) Anglo-Afghan wars. In telling the story of two rogue ex-soldiers (Caine, and Sean Connery) who hope to exploit what they perceive as the ignorance of the locals, it mocks the racism, misjudgments and false premises that gave Britain’s empire-building in the region such a shaky foundation.\u003c/p>\n\u003cp>The bounders played by Caine and Connery are undeterred even when told by Christopher Plummer’s Kipling (the film gives a name to the story’s unidentifed narrator) that no outsider has survived there “since Alexander the Great, King of Greece about 300 years before Christ.” Their response is dismissive. “If a Greek can do it, we can do it.” Their story didn’t end any better than it did for the Brits.\u003c/p>\n\u003cp>The Soviet attempt at nation-building also ended badly—so badly that it became a Hollywood plot point even at a time when most of the world wasn’t paying attention.\u003c/p>\n\u003ch3>James Bond, John Rambo, and the graveyard of empires\u003c/h3>\n\u003cp>In 1987, \u003cem>The Living Daylights \u003c/em>spent much of its running time shuttling Timothy Dalton’s 007 between Russia and Afghanistan to disrupt a deal between the Soviet military, opium-growing mujahideen and arms dealers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fZ5PvhSFkQ0\u003c/p>\n\u003cp>And a year later, Hollywood’s most famous mercenary reluctantly paid a visit to the country in \u003cem>Rambo III. \u003c/em>He was on a mission to rescue his pal, Col. Sam Trautman (Richard Crenna), who was being held in a Soviet camp high in the Afghan mountains mostly so he could spout exposition about Afghanistan’s reputation as “the graveyard of empires.”\u003c/p>\n\u003cp>“Every day,” he tells his Soviet captors, “your war machines lose ground to a bunch of poorly armed, poorly equipped freedom fighters. If you’d studied your history, you’d know that these people have never given up to anyone. They’d rather die than be slaves to an invading army. You can’t defeat a people like that. We tried. We already had our Vietnam.”\u003c/p>\n\u003cp>Sylvester Stallone then set in motion a routing of the Soviet Army that would require eight more years of pitched battles by mujahideen that \u003cem>Rambo III\u003c/em>‘s end crawl termed “the gallant Afghan people.”\u003c/p>\n\u003cp>A decade and a half later, well after the Taliban’s first takeover and al-Qaida’s Sept. 11 attacks, Afghanistan was finally treated more seriously by filmmakers, including by Afghan director Siddiq Barmak. He used what was reported to be the only 35mm camera in all of Afghanistan to tell the story of a 12-year-old girl who, under Taliban rule must pretend to be a boy to support her widowed mother and family. The film was called \u003cem>Osama, \u003c/em>the name she took as a boy, and it won the 2003 Golden Globe for Best Foreign Language Film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=54sKYNvd3CY\u003c/p>\n\u003cp>It took a few years after Sept. 11 before the makers of commercial American movies felt comfortable dealing with the country on screen, and even then, they concentrated initially on the miscalculations that got us involved there during the Soviet era. Mike Nichols’ 2007 satire \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17525023\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Charlie Wilson’s War\u003c/em> \u003c/a>arched an eyebrow and enlisted Tom Hanks, Julia Roberts, and Philip Seymour Hoffman to tell the story of how American intelligence agencies—operating on the mistaken theory that the enemy of our enemy is our friend—made the decision to arm the nation’s so-called “freedom fighters.” A flurry of documentaries then looked at the experience of troops on the ground, of families back home, of Afghan culture disrupted or compromised.\u003c/p>\n\u003ch3>Panic, desperation and echoes of other conflicts\u003c/h3>\n\u003cp>At some point, these tales bleed into ones from other conflicts. The Persian Gulf war as depicted in \u003cem>American Sniper \u003c/em>or \u003cem>The Hurt Locker\u003c/em>; Somalia’s failed helicopter rescue in \u003cem>Black Hawk Down. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13901335']And looming over all of them, the chaotic scene from Vietnam that President Biden was so adamant about not repeating in Kabul: helicopters lifting off the roof of the American embassy in Saigon as U.S. involvement drew to a close in April 1975—a moment seared into a generation’s memory by news footage as vivid as anything Hollywood could have devised.\u003c/p>\n\u003cp>Footage from Kabul’s International Airport, of\u003ca href=\"https://www.cnn.com/videos/world/2021/08/16/kabul-clinging-to-airplane-taking-off-tarmac-afghanistan-ward-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\"> Afghans clinging desperately to the fuselage of a U.S. Air Force C-17 transport plane\u003c/a> as it moves down the takeoff runway has that quality, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Panic, sacrifice, desperation—we have seen it before. Sadly, it wasn’t a movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Our+Film+Critic+Explores+Why+The+Harrowing+Afghanistan+Images+May+Feel+Familiar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at the\u003ca href=\"https://www.npr.org/2021/08/16/1028090002/afghanistan-airport-evacuation-taliban\" target=\"_blank\" rel=\"noopener noreferrer\"> newscast images\u003c/a> this week of Afghans \u003ca href=\"http://npr.org/2021/08/17/1028564790/u-s-is-reviewing-the-deaths-of-people-who-may-have-fallen-from-a-plane-leaving-k\" target=\"_blank\" rel=\"noopener noreferrer\">desperate to flee\u003c/a> the Taliban, I’ve been struck again and again by the feeling that the horrors I’m watching in real time are somehow familiar.\u003c/p>\n\u003cp>A throwaway line in a newspaper article cued me as to why. In a report on Biden administration figures who had urged caution in drawing down U.S. forces, Secretary of Defense Lloyd Austin III, was quoted as having told the President, \u003ca href=\"https://www.washingtonpost.com/entertainment/afghanistan-movies-hornaday/2021/08/17/5215eaaa-feb2-11eb-a664-4f6de3e17ff0_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">“we’ve seen this movie before.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in several senses, that’s exactly right. Reasonable people may disagree about which movie, but we have all seen it. The recently confirmed Secretary of Defense clearly meant the phrase in a metaphorical sense, but America’s military adventures have been chronicled extensively enough that there’s some truth to the assertion even as fact.\u003c/p>\n\u003ch3>The haunted gaze of children who’d known only war\u003c/h3>\n\u003cp>Documentaries from the black-site interrogation expose \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18212203\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Taxi to the Dark Side, \u003c/em>\u003c/a>to\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128081316\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Restrepo, \u003c/em>\u003c/a>which chronicled the tragic human cost of securing an Afghan valley that would be given-up just months after U.S. soldiers left, had offered glimpses of everyday life in the country. Wary villagers, the haunted gaze of children who’d only known war, battle-scarred buildings—all so commonplace as to seem almost unremarkable.\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/eLMaPOuEA4Q'\n title='//www.youtube.com/embed/eLMaPOuEA4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.npr.org/2012/12/19/166896991/shedding-grim-light-on-a-dark-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zero Dark Thirty\u003c/em>, \u003c/a>when Kathryn Bigelow recreated the mission that struck across the Afghan border into Pakistan to take out Osama Bin Laden, her portrait of the society in which the Americans were operating felt as authentic as news footage, and flash-edited and scored with a pounding soundtrack, arguably packed more punch.\u003c/p>\n\u003ch3>‘A place of warring tribes’\u003c/h3>\n\u003cp>This sort of verisimilitude is a relatively recent development, but it augments an already pervasive and unflattering portrait of the region. For roughly half a century Hollywood has used Afghans as background figures for fictional stories in which outsiders consistently underestimate their grit and determination. Afghanistan is “a place of warring tribes,” as Michael Caine’s con-man put it in \u003cem>The Man Who Would Be King\u003c/em>, “which is to say a land of opportunity for such as we.”\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/W6Qf98Wa6VY'\n title='//www.youtube.com/embed/W6Qf98Wa6VY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That 1975 John Huston epic was based on a story Rudyard Kipling had written in 1888, between unsuccessful second and third(!) Anglo-Afghan wars. In telling the story of two rogue ex-soldiers (Caine, and Sean Connery) who hope to exploit what they perceive as the ignorance of the locals, it mocks the racism, misjudgments and false premises that gave Britain’s empire-building in the region such a shaky foundation.\u003c/p>\n\u003cp>The bounders played by Caine and Connery are undeterred even when told by Christopher Plummer’s Kipling (the film gives a name to the story’s unidentifed narrator) that no outsider has survived there “since Alexander the Great, King of Greece about 300 years before Christ.” Their response is dismissive. “If a Greek can do it, we can do it.” Their story didn’t end any better than it did for the Brits.\u003c/p>\n\u003cp>The Soviet attempt at nation-building also ended badly—so badly that it became a Hollywood plot point even at a time when most of the world wasn’t paying attention.\u003c/p>\n\u003ch3>James Bond, John Rambo, and the graveyard of empires\u003c/h3>\n\u003cp>In 1987, \u003cem>The Living Daylights \u003c/em>spent much of its running time shuttling Timothy Dalton’s 007 between Russia and Afghanistan to disrupt a deal between the Soviet military, opium-growing mujahideen and arms dealers.\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/fZ5PvhSFkQ0'\n title='//www.youtube.com/embed/fZ5PvhSFkQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And a year later, Hollywood’s most famous mercenary reluctantly paid a visit to the country in \u003cem>Rambo III. \u003c/em>He was on a mission to rescue his pal, Col. Sam Trautman (Richard Crenna), who was being held in a Soviet camp high in the Afghan mountains mostly so he could spout exposition about Afghanistan’s reputation as “the graveyard of empires.”\u003c/p>\n\u003cp>“Every day,” he tells his Soviet captors, “your war machines lose ground to a bunch of poorly armed, poorly equipped freedom fighters. If you’d studied your history, you’d know that these people have never given up to anyone. They’d rather die than be slaves to an invading army. You can’t defeat a people like that. We tried. We already had our Vietnam.”\u003c/p>\n\u003cp>Sylvester Stallone then set in motion a routing of the Soviet Army that would require eight more years of pitched battles by mujahideen that \u003cem>Rambo III\u003c/em>‘s end crawl termed “the gallant Afghan people.”\u003c/p>\n\u003cp>A decade and a half later, well after the Taliban’s first takeover and al-Qaida’s Sept. 11 attacks, Afghanistan was finally treated more seriously by filmmakers, including by Afghan director Siddiq Barmak. He used what was reported to be the only 35mm camera in all of Afghanistan to tell the story of a 12-year-old girl who, under Taliban rule must pretend to be a boy to support her widowed mother and family. The film was called \u003cem>Osama, \u003c/em>the name she took as a boy, and it won the 2003 Golden Globe for Best Foreign Language Film.\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/54sKYNvd3CY'\n title='//www.youtube.com/embed/54sKYNvd3CY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It took a few years after Sept. 11 before the makers of commercial American movies felt comfortable dealing with the country on screen, and even then, they concentrated initially on the miscalculations that got us involved there during the Soviet era. Mike Nichols’ 2007 satire \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17525023\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Charlie Wilson’s War\u003c/em> \u003c/a>arched an eyebrow and enlisted Tom Hanks, Julia Roberts, and Philip Seymour Hoffman to tell the story of how American intelligence agencies—operating on the mistaken theory that the enemy of our enemy is our friend—made the decision to arm the nation’s so-called “freedom fighters.” A flurry of documentaries then looked at the experience of troops on the ground, of families back home, of Afghan culture disrupted or compromised.\u003c/p>\n\u003ch3>Panic, desperation and echoes of other conflicts\u003c/h3>\n\u003cp>At some point, these tales bleed into ones from other conflicts. The Persian Gulf war as depicted in \u003cem>American Sniper \u003c/em>or \u003cem>The Hurt Locker\u003c/em>; Somalia’s failed helicopter rescue in \u003cem>Black Hawk Down. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And looming over all of them, the chaotic scene from Vietnam that President Biden was so adamant about not repeating in Kabul: helicopters lifting off the roof of the American embassy in Saigon as U.S. involvement drew to a close in April 1975—a moment seared into a generation’s memory by news footage as vivid as anything Hollywood could have devised.\u003c/p>\n\u003cp>Footage from Kabul’s International Airport, of\u003ca href=\"https://www.cnn.com/videos/world/2021/08/16/kabul-clinging-to-airplane-taking-off-tarmac-afghanistan-ward-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\"> Afghans clinging desperately to the fuselage of a U.S. Air Force C-17 transport plane\u003c/a> as it moves down the takeoff runway has that quality, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Panic, sacrifice, desperation—we have seen it before. Sadly, it wasn’t a movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Our+Film+Critic+Explores+Why+The+Harrowing+Afghanistan+Images+May+Feel+Familiar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Laura Lippman's 'Dream Girl' is the Latest Thriller to Center on Stolen Stories",
"headTitle": "Laura Lippman’s ‘Dream Girl’ is the Latest Thriller to Center on Stolen Stories | KQED",
"content": "\u003cp>Something strange is afoot in mystery and suspense fiction. The plot of almost every thriller I’ve read in the past six months has had something to do with one character stealing the story of another character and passing it off as their own. The rundown includes: \u003ca href=\"https://www.npr.org/2021/05/16/996976488/the-plot-works-as-literary-satire-but-its-mystery-fizzles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot\u003c/em>\u003c/a> by Jean Hanff Korelitz, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/a-lonely-man-is-an-elegant-suspense-novel-in-the-tradition-of-the-the-third-man/2021/05/12/5981a17e-ace8-11eb-b476-c3b287e52a01_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Lonely Man\u003c/em>\u003c/a> by Chris Power, \u003ca href=\"https://www.npr.org/2021/06/04/1002959204/an-office-rivalry-turns-strange-and-maybe-dangerous-in-the-other-black-girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Other Black Girl\u003c/em>\u003c/a> by Zakiya Dalila Harris, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/an-intense-bond-between-two-women-fuels-the-suspense-in-palace-of-the-drowned/2021/06/25/0cd367ba-d2b1-11eb-ae54-515e2f63d37d_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Palace of the Drowned \u003c/em>\u003c/a>by Christine Mangan, and \u003ca href=\"https://www.penguinrandomhouse.com/books/543898/a-slow-fire-burning-by-paula-hawkins/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Slow Fire Burning\u003c/em>\u003c/a>, the forthcoming novel by Paula Hawkins of\u003ca href=\"https://www.npr.org/2015/01/13/376996145/girl-on-the-train-is-a-journey-into-the-lives-of-familiar-strangers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Girl on the Train\u003c/em>\u003c/a> fame.\u003c/p>\n\u003cp>[aside postid='arts_13900580']Worry over manuscripts falling into the wrong hands is nothing new in mystery fiction; after all, Edgar Allan Poe, the acknowledged Father of the form, relied on that plot for his 1844 short story, “The Purloined Letter.” But this years’ crop of mystery and suspense novels puts a socially-conscious spin on the missing manuscript tale: they’re about the anxiety of appropriation, about one character in a position of privilege—in terms of gender, financial security, or race—laying their sticky mitts on the writing or life story of another character who’s not so advantaged.\u003c/p>\n\u003cp>The plot of Laura Lippman’s latest standalone suspense novel,\u003cem> Dream Girl,\u003c/em> arises not only out of this anxiety about who gets to tell whose stories, but also out of the #MeToo movement. And, it also owes a lot to Stephen King’s 1987 horror classic, \u003cem>Misery,\u003c/em> altogether making\u003cem> Dream Girl \u003c/em>the ideal cutting-edge, socially-conscious entertainment for late summer.\u003c/p>\n\u003cfigure id=\"attachment_13901489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901489\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg\" alt=\"'Dream Girl: A Novel' by Laura Lippman.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream Girl: A Novel’ by Laura Lippman. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dream Girl \u003c/em>is set in the penthouse of a lofty eyesore of a luxury high-rise in Baltimore, Lippman’s hometown and the site of most of her novels. We savvy readers sense that something is “off” from the opening description of famous novelist Gerry Andersen’s lavish digs. Lippman’s narrator tells us:\u003c/p>\n\u003cblockquote>\u003cp>Gerry Andersen’s new apartment is a topsy-turvy affair—living area on the second floor, bedrooms below. The brochure—it is the kind of apartment that had its own brochure when it went on the market in 2018—boasted of 360-degree views, but that was pure hype. … Nothing means anything anymore, Gerry has decided. No one uses words correctly and if you call them on it, they claim that words are fungible, that it’s oppressive and prissy not to let words mean whatever the speaker wishes them to mean.\u003c/p>\u003c/blockquote>\n\u003cp>Isn’t this delicious? A cranky novelist ensconced in a swanky setting, railing at the idiocies of the contemporary world. As Lippman imagines him, Gerry owes something to \u003ca href=\"https://www.npr.org/2018/05/23/613631354/philip-roth-you-begin-every-book-as-an-amateur\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Roth\u003c/a> (as well as to Roth’s fictional alter ego, Nathan Zuckerman). There’s the brilliance, the wit, the complicated sexual history with women, and the fraught relationship with his own mother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But, at the end of the first chapter, Gerry—the Literary Lion in Winter—is taken down, literally: He stumbles over the rowing machine in his bedroom, skids to the edge of the “floating staircase” that connects the floors of the duplex, “wind-mills” down the steps, and lands at the bottom “a crooked broken thing.” There he lies alone throughout the night until his young assistant, Victoria, arrives in the morning.\u003c/p>\n\u003cp>For months, Gerry will be imprisoned in that penthouse, his only constant visitors Victoria and a night nurse named Aileen. During that time, Gerry will be tormented by dead-of-night phone calls from a woman who claims to be the person whose story Gerry stole for his breakthrough novel, also called \u003cem>Dream Girl\u003c/em>. Whenever the phone rings, Aileen claims she doesn’t hear it. In his medicated state Gerry can barely think straight. Is he being gaslighted? Think Stephen King’s \u003cem>Misery\u003c/em> starring Zuckerman “Bound.”\u003c/p>\n\u003cp>[aside postid='arts_13901414']With each standalone novel she writes, Lippman veers off in a different direction: \u003cem>Sunburn \u003c/em>was a sexy noir winking at James M. Cain; \u003ca href=\"https://www.npr.org/2019/07/25/742220303/real-disappearances-are-the-premise-for-laura-lippmans-lady-in-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lady in the Lake,\u003c/em>\u003c/a> a historical crime story, winked even more broadly at Raymond Chandler; and now Lippman has poked a toe into horror. The source of the jitters here is that very hi-rise Gerry is marooned in. Lippman’s series detective, Tess Monaghan, makes a cameo when Gerry tries to hire her. Tess turns up at Gerry’s place and, ultimately, turns down the job. As she explains, the reason is the penthouse itself:\u003c/p>\n\u003cblockquote>\u003cp>“I couldn’t spend a lot of time in this apartment. [Tess says]. [M]aybe it’s like the Spielberg movie where it turns out a grave has been desecrated. Only the thing that’s buried beneath your beautiful apartment is jobs. …”\u003c/p>\n\u003cp>“There were silos here. Grain silos. There were jobs all over this peninsula. . . .[T]his place gives me the creeps, big time. I could never do surveillance here.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Packed with social criticism, satire, ghosts and narrative turns of the screw, Lippman’s \u003cem>Dream Girl\u003c/em> is indeed a dream of a novel. And all the literary pilferings Lippman herself has committed here are acknowledged, front and center.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Laura+Lippman%27s+%27Dream+Girl%27+Is+The+Latest+Thriller+To+Center+On+Stolen+Stories&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Something strange is afoot in mystery and suspense fiction. The plot of almost every thriller I’ve read in the past six months has had something to do with one character stealing the story of another character and passing it off as their own. The rundown includes: \u003ca href=\"https://www.npr.org/2021/05/16/996976488/the-plot-works-as-literary-satire-but-its-mystery-fizzles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot\u003c/em>\u003c/a> by Jean Hanff Korelitz, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/a-lonely-man-is-an-elegant-suspense-novel-in-the-tradition-of-the-the-third-man/2021/05/12/5981a17e-ace8-11eb-b476-c3b287e52a01_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Lonely Man\u003c/em>\u003c/a> by Chris Power, \u003ca href=\"https://www.npr.org/2021/06/04/1002959204/an-office-rivalry-turns-strange-and-maybe-dangerous-in-the-other-black-girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Other Black Girl\u003c/em>\u003c/a> by Zakiya Dalila Harris, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/an-intense-bond-between-two-women-fuels-the-suspense-in-palace-of-the-drowned/2021/06/25/0cd367ba-d2b1-11eb-ae54-515e2f63d37d_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Palace of the Drowned \u003c/em>\u003c/a>by Christine Mangan, and \u003ca href=\"https://www.penguinrandomhouse.com/books/543898/a-slow-fire-burning-by-paula-hawkins/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Slow Fire Burning\u003c/em>\u003c/a>, the forthcoming novel by Paula Hawkins of\u003ca href=\"https://www.npr.org/2015/01/13/376996145/girl-on-the-train-is-a-journey-into-the-lives-of-familiar-strangers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Girl on the Train\u003c/em>\u003c/a> fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Worry over manuscripts falling into the wrong hands is nothing new in mystery fiction; after all, Edgar Allan Poe, the acknowledged Father of the form, relied on that plot for his 1844 short story, “The Purloined Letter.” But this years’ crop of mystery and suspense novels puts a socially-conscious spin on the missing manuscript tale: they’re about the anxiety of appropriation, about one character in a position of privilege—in terms of gender, financial security, or race—laying their sticky mitts on the writing or life story of another character who’s not so advantaged.\u003c/p>\n\u003cp>The plot of Laura Lippman’s latest standalone suspense novel,\u003cem> Dream Girl,\u003c/em> arises not only out of this anxiety about who gets to tell whose stories, but also out of the #MeToo movement. And, it also owes a lot to Stephen King’s 1987 horror classic, \u003cem>Misery,\u003c/em> altogether making\u003cem> Dream Girl \u003c/em>the ideal cutting-edge, socially-conscious entertainment for late summer.\u003c/p>\n\u003cfigure id=\"attachment_13901489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901489\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg\" alt=\"'Dream Girl: A Novel' by Laura Lippman.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream Girl: A Novel’ by Laura Lippman. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dream Girl \u003c/em>is set in the penthouse of a lofty eyesore of a luxury high-rise in Baltimore, Lippman’s hometown and the site of most of her novels. We savvy readers sense that something is “off” from the opening description of famous novelist Gerry Andersen’s lavish digs. Lippman’s narrator tells us:\u003c/p>\n\u003cblockquote>\u003cp>Gerry Andersen’s new apartment is a topsy-turvy affair—living area on the second floor, bedrooms below. The brochure—it is the kind of apartment that had its own brochure when it went on the market in 2018—boasted of 360-degree views, but that was pure hype. … Nothing means anything anymore, Gerry has decided. No one uses words correctly and if you call them on it, they claim that words are fungible, that it’s oppressive and prissy not to let words mean whatever the speaker wishes them to mean.\u003c/p>\u003c/blockquote>\n\u003cp>Isn’t this delicious? A cranky novelist ensconced in a swanky setting, railing at the idiocies of the contemporary world. As Lippman imagines him, Gerry owes something to \u003ca href=\"https://www.npr.org/2018/05/23/613631354/philip-roth-you-begin-every-book-as-an-amateur\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Roth\u003c/a> (as well as to Roth’s fictional alter ego, Nathan Zuckerman). There’s the brilliance, the wit, the complicated sexual history with women, and the fraught relationship with his own mother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, at the end of the first chapter, Gerry—the Literary Lion in Winter—is taken down, literally: He stumbles over the rowing machine in his bedroom, skids to the edge of the “floating staircase” that connects the floors of the duplex, “wind-mills” down the steps, and lands at the bottom “a crooked broken thing.” There he lies alone throughout the night until his young assistant, Victoria, arrives in the morning.\u003c/p>\n\u003cp>For months, Gerry will be imprisoned in that penthouse, his only constant visitors Victoria and a night nurse named Aileen. During that time, Gerry will be tormented by dead-of-night phone calls from a woman who claims to be the person whose story Gerry stole for his breakthrough novel, also called \u003cem>Dream Girl\u003c/em>. Whenever the phone rings, Aileen claims she doesn’t hear it. In his medicated state Gerry can barely think straight. Is he being gaslighted? Think Stephen King’s \u003cem>Misery\u003c/em> starring Zuckerman “Bound.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With each standalone novel she writes, Lippman veers off in a different direction: \u003cem>Sunburn \u003c/em>was a sexy noir winking at James M. Cain; \u003ca href=\"https://www.npr.org/2019/07/25/742220303/real-disappearances-are-the-premise-for-laura-lippmans-lady-in-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lady in the Lake,\u003c/em>\u003c/a> a historical crime story, winked even more broadly at Raymond Chandler; and now Lippman has poked a toe into horror. The source of the jitters here is that very hi-rise Gerry is marooned in. Lippman’s series detective, Tess Monaghan, makes a cameo when Gerry tries to hire her. Tess turns up at Gerry’s place and, ultimately, turns down the job. As she explains, the reason is the penthouse itself:\u003c/p>\n\u003cblockquote>\u003cp>“I couldn’t spend a lot of time in this apartment. [Tess says]. [M]aybe it’s like the Spielberg movie where it turns out a grave has been desecrated. Only the thing that’s buried beneath your beautiful apartment is jobs. …”\u003c/p>\n\u003cp>“There were silos here. Grain silos. There were jobs all over this peninsula. . . .[T]his place gives me the creeps, big time. I could never do surveillance here.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Packed with social criticism, satire, ghosts and narrative turns of the screw, Lippman’s \u003cem>Dream Girl\u003c/em> is indeed a dream of a novel. And all the literary pilferings Lippman herself has committed here are acknowledged, front and center.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Laura+Lippman%27s+%27Dream+Girl%27+Is+The+Latest+Thriller+To+Center+On+Stolen+Stories&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a moment in the new Netflix thriller \u003cem>Beckett\u003c/em> in which the main character played by John David Washington—who’s already been in a rollover accident, been shot, been tased, been stung by bees, and likely broken both of his ankles—gets flex cuffs slapped on him, and now he’s on the run … in flex cuffs. The movie isn’t even half over.\u003c/p>\n\u003cp>You already know a lot about how you’ll feel about \u003cem>Beckett\u003c/em> by how much this description makes you roll your eyes, versus shout “hooray!”, versus a little bit of both. \u003cem>Beckett \u003c/em>is listed as Netflix’s number one film as of this writing, and yet there’s little buzz around it. And that may be because of how precisely it meets the requirements of a movie of its type without ever meaningfully exceeding any expectation you might have.\u003c/p>\n\u003cp>[aside postid='arts_13901046']And yet, I found myself coming down (gently) in the positive column on a film that, perhaps inevitably, has a \u003ca href=\"https://www.metacritic.com/movie/beckett/critic-reviews\" target=\"_blank\" rel=\"noopener noreferrer\">51 percent positive rating\u003c/a> over on the review aggregator site Metacritic. I must confess: I just love a movie where a guy cannot catch a break. These cascading problems that become more and more ridiculous are the bread and butter of what you might call the For Heaven’s Sake, What Now? genre. There’s a little bit of this in movies like \u003cem>Die Hard \u003c/em>(with the bare feet) and \u003cem>Speed \u003c/em>(when Keanu Reeves stabs the gas tank with the screwdriver), but in a film like \u003cem>Beckett\u003c/em>, it’s the whole story. This movie doesn’t actually have Beckett come down with scurvy and have him run over by the tuba section of a marching band on his way to a safe house that turns out to be haunted, but that’s only because there’s not time. Directed by Ferdinando Cito Filomarino, \u003cem>Beckett \u003c/em>is a movie about a guy who cannot catch a break—unless it’s a break of his own arm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EPT_PNucTWE\u003c/p>\n\u003cp>Washington plays Beckett (just Beckett), an American on vacation in Greece with his girlfriend (played by Alicia Vikander, but don’t get too excited, because it’s a small role). They get in a terrible car accident, and once Beckett gets out of the hospital, he realizes that people are chasing him, and they are shooting at him, and he has no idea who they are or why they’re doing all this. One can certainly understand how it would be unsettling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The police quickly prove untrustworthy, so Beckett gets it in his head that what he needs to do is get to the U.S. Embassy in Athens. It’s important to set this goal, because one of the problems with on-the-run movies is always the question of where the on-the-run person is trying to get to, and what they think they’re going to do when they arrive. Every obstacle course needs a finish line.\u003c/p>\n\u003cp>[aside postid='arts_13901157']Regrettably, \u003cem>Beckett \u003c/em>does run into the same problem as a lot of films with fun beginnings shrouded in mystery: It has to eventually answer the question of what the heck is going on. What they’re going for here is (as critic Walter Chaw noted when we spoke about the film this week for Pop Culture Happy Hour) is the feeling of a larger conspiracy clamping down on Beckett, like you’d find in a 1970s paranoid thriller. But here, the more the film reveals about those menacing forces, the more it gets bogged down in a lot of only halfway considered material about Greek politics and American diplomacy. The final action set piece is fully ridiculous and poorly paced, particularly in contrast to the fairly straightforward chases of what happens earlier on, and by the end, the idea of Beckett as an everyman has been discarded in favor of the idea of Beckett as a superhero who manages some highly, highly unlikely feats of physics that the Beckett of a day or so earlier would never have even attempted.\u003c/p>\n\u003cp>The whole thing feels strangely conceived, and one hint about why might come from the press materials in which Filomarino says that what inspired this movie was other movies—other “manhunt” type films, only he wanted to try one where the protagonist was more of an ordinary person. It’s not unusual to be inspired by other kinds of storytelling, obviously—that’s the heart and soul of genre, and had they resisted the urge to make Beckett quite so bulletproof and quite so acrobatic, it might have paid off better.\u003c/p>\n\u003cp>But \u003cem>Beckett \u003c/em>feels like perhaps the central story is underbaked because it originated not with an idea about a person, but with an idea about film, and then the task of building the story itself wasn’t quite finished with the polish it needed. That might explain, too, the oddly inert supporting characters: Vicky Krieps shows up in an underdeveloped role as a local activist, for instance, and it’s hard not to wish she had a lot more to do.\u003c/p>\n\u003cp>This kind of movie makes me think, I admit, of \u003cem>The Great British Baking Show\u003c/em>. Sometimes, someone will make, say, a lemon cake. The the judges eat it and they announce, basically, “It’s fine. I don’t know that it’s great, or that it’s very exciting, but it’s fine.” This is not quite a ringing endorsement in the middle of a competition, but in fairness, what the person has made is still a lemon cake. And if you were in the mood for a lemon cake, then the fact that it’s not the best lemon cake you’ve ever had may be something you would not focus on, were it sitting in front of you at home. “I believe I would eat that lemon cake” is a thought you may well find yourself having.\u003c/p>\n\u003cp>\u003cem>Beckett\u003c/em> is a bit of a lemon cake.\u003c/p>\n\u003cp>On the plus side, it benefits from beautiful scenery as Beckett runs around Greece, up city streets and over mountains. It benefits from Washington having quite a natural regular-guy presence, in which he often seems overwhelmed, especially at the beginning. And it benefits from the audacious pile-up of challenges with which Beckett is faced.\u003c/p>\n\u003cp>[aside postid='arts_13900910']But it could certainly be much better were it a tighter story with a more efficiently built puzzle at its center. There is a big difference, after all, between being able to \u003cem>forgive\u003c/em> the flaws in a movie because it meets the basic requirements of its category and thinking there is \u003cem>no meaningful distinction\u003c/em> between a good and bad movie like this, simply because it belongs to the popular genre known as the action thriller.\u003c/p>\n\u003cp>It could be a lot better. It could be a lot stronger as it approaches the finish. But there’s something to be said for watching a guy hide in a car trunk and think, “For him, this is probably the best part of his day.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel is Linda Holmes and Walter Chaw. The audio was produced and edited by Mike Katzif.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beckett%27+Is+A+Perfectly+Average+Chase+Thriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in the new Netflix thriller \u003cem>Beckett\u003c/em> in which the main character played by John David Washington—who’s already been in a rollover accident, been shot, been tased, been stung by bees, and likely broken both of his ankles—gets flex cuffs slapped on him, and now he’s on the run … in flex cuffs. The movie isn’t even half over.\u003c/p>\n\u003cp>You already know a lot about how you’ll feel about \u003cem>Beckett\u003c/em> by how much this description makes you roll your eyes, versus shout “hooray!”, versus a little bit of both. \u003cem>Beckett \u003c/em>is listed as Netflix’s number one film as of this writing, and yet there’s little buzz around it. And that may be because of how precisely it meets the requirements of a movie of its type without ever meaningfully exceeding any expectation you might have.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet, I found myself coming down (gently) in the positive column on a film that, perhaps inevitably, has a \u003ca href=\"https://www.metacritic.com/movie/beckett/critic-reviews\" target=\"_blank\" rel=\"noopener noreferrer\">51 percent positive rating\u003c/a> over on the review aggregator site Metacritic. I must confess: I just love a movie where a guy cannot catch a break. These cascading problems that become more and more ridiculous are the bread and butter of what you might call the For Heaven’s Sake, What Now? genre. There’s a little bit of this in movies like \u003cem>Die Hard \u003c/em>(with the bare feet) and \u003cem>Speed \u003c/em>(when Keanu Reeves stabs the gas tank with the screwdriver), but in a film like \u003cem>Beckett\u003c/em>, it’s the whole story. This movie doesn’t actually have Beckett come down with scurvy and have him run over by the tuba section of a marching band on his way to a safe house that turns out to be haunted, but that’s only because there’s not time. Directed by Ferdinando Cito Filomarino, \u003cem>Beckett \u003c/em>is a movie about a guy who cannot catch a break—unless it’s a break of his own arm.\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/EPT_PNucTWE'\n title='//www.youtube.com/embed/EPT_PNucTWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Washington plays Beckett (just Beckett), an American on vacation in Greece with his girlfriend (played by Alicia Vikander, but don’t get too excited, because it’s a small role). They get in a terrible car accident, and once Beckett gets out of the hospital, he realizes that people are chasing him, and they are shooting at him, and he has no idea who they are or why they’re doing all this. One can certainly understand how it would be unsettling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The police quickly prove untrustworthy, so Beckett gets it in his head that what he needs to do is get to the U.S. Embassy in Athens. It’s important to set this goal, because one of the problems with on-the-run movies is always the question of where the on-the-run person is trying to get to, and what they think they’re going to do when they arrive. Every obstacle course needs a finish line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regrettably, \u003cem>Beckett \u003c/em>does run into the same problem as a lot of films with fun beginnings shrouded in mystery: It has to eventually answer the question of what the heck is going on. What they’re going for here is (as critic Walter Chaw noted when we spoke about the film this week for Pop Culture Happy Hour) is the feeling of a larger conspiracy clamping down on Beckett, like you’d find in a 1970s paranoid thriller. But here, the more the film reveals about those menacing forces, the more it gets bogged down in a lot of only halfway considered material about Greek politics and American diplomacy. The final action set piece is fully ridiculous and poorly paced, particularly in contrast to the fairly straightforward chases of what happens earlier on, and by the end, the idea of Beckett as an everyman has been discarded in favor of the idea of Beckett as a superhero who manages some highly, highly unlikely feats of physics that the Beckett of a day or so earlier would never have even attempted.\u003c/p>\n\u003cp>The whole thing feels strangely conceived, and one hint about why might come from the press materials in which Filomarino says that what inspired this movie was other movies—other “manhunt” type films, only he wanted to try one where the protagonist was more of an ordinary person. It’s not unusual to be inspired by other kinds of storytelling, obviously—that’s the heart and soul of genre, and had they resisted the urge to make Beckett quite so bulletproof and quite so acrobatic, it might have paid off better.\u003c/p>\n\u003cp>But \u003cem>Beckett \u003c/em>feels like perhaps the central story is underbaked because it originated not with an idea about a person, but with an idea about film, and then the task of building the story itself wasn’t quite finished with the polish it needed. That might explain, too, the oddly inert supporting characters: Vicky Krieps shows up in an underdeveloped role as a local activist, for instance, and it’s hard not to wish she had a lot more to do.\u003c/p>\n\u003cp>This kind of movie makes me think, I admit, of \u003cem>The Great British Baking Show\u003c/em>. Sometimes, someone will make, say, a lemon cake. The the judges eat it and they announce, basically, “It’s fine. I don’t know that it’s great, or that it’s very exciting, but it’s fine.” This is not quite a ringing endorsement in the middle of a competition, but in fairness, what the person has made is still a lemon cake. And if you were in the mood for a lemon cake, then the fact that it’s not the best lemon cake you’ve ever had may be something you would not focus on, were it sitting in front of you at home. “I believe I would eat that lemon cake” is a thought you may well find yourself having.\u003c/p>\n\u003cp>\u003cem>Beckett\u003c/em> is a bit of a lemon cake.\u003c/p>\n\u003cp>On the plus side, it benefits from beautiful scenery as Beckett runs around Greece, up city streets and over mountains. It benefits from Washington having quite a natural regular-guy presence, in which he often seems overwhelmed, especially at the beginning. And it benefits from the audacious pile-up of challenges with which Beckett is faced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it could certainly be much better were it a tighter story with a more efficiently built puzzle at its center. There is a big difference, after all, between being able to \u003cem>forgive\u003c/em> the flaws in a movie because it meets the basic requirements of its category and thinking there is \u003cem>no meaningful distinction\u003c/em> between a good and bad movie like this, simply because it belongs to the popular genre known as the action thriller.\u003c/p>\n\u003cp>It could be a lot better. It could be a lot stronger as it approaches the finish. But there’s something to be said for watching a guy hide in a car trunk and think, “For him, this is probably the best part of his day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Yik Yak, the Anonymous App that Tested Free Speech, is Back",
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"content": "\u003cp>After a four-year break, Yik Yak, the once-popular anonymous messaging app that was blamed for \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2015/07/13/422620195/on-college-campuses-suicide-intervention-via-anonymous-app\" target=\"_blank\" rel=\"noopener noreferrer\">cyberbullying \u003c/a>and \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/01/23/463197593/yik-yak-tests-universities-defense-of-free-speech\" target=\"_blank\" rel=\"noopener noreferrer\">hate speech\u003c/a>, is back. This time, the new owners are promising to take a stronger stance against abuse.\u003c/p>\n\u003cp>The new owners of the company purchased the rights to redevelop the location-based app from its original maker in February, calling it “the same Yik Yak experience millions knew and loved.”\u003c/p>\n\u003cp>“We’re bringing Yik Yak back because we believe the global community deserves a place to be authentic, a place to be equal, and a place to connect with people nearby,” the new owners said on the \u003ca href=\"https://yikyak.com/the-yak-is-back\" target=\"_blank\" rel=\"noopener noreferrer\">company’s website on Monday.\u003c/a>\u003c/p>\n\u003ch3>Yik Yak was popular on campus\u003c/h3>\n\u003cp>Launched in 2013, Yik Yak swept the nation as it became popular across college campuses as well as middle schools and high schools.\u003c/p>\n\u003cp>The app allows users to post messages anonymously on its platform within a 5-mile radius of their location. The messages could be up-voted or down-voted by users.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the height of its popularity, the company raised $73 million and was once valued at around $400 million in 2014, according to \u003ca href=\"https://techcrunch.com/2021/08/16/yik-yak-is-back/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch.\u003c/a>\u003c/p>\n\u003cp>In April 2017, the company announced the app would be shutting down following a decline in its engagement from users—by the end of 2016, \u003ca href=\"https://techcrunch.com/2017/04/28/yik-yak-shuts-down-after-square-paid-1-million-for-its-engineers/\" target=\"_blank\" rel=\"noopener noreferrer\">user downloads had dropped 76%\u003c/a> in comparison to 2015.\u003c/p>\n\u003ch3>The new company takes a strong stance against hate speech and bullying\u003c/h3>\n\u003cp>Before shutting down in 2017, Yik Yak was the subject of hate speech and cyberbullying across high school and college campuses.\u003c/p>\n\u003cp>But with the newly launched app, owners say they’re committed to taking a strong stance against threats and other abuse.\u003c/p>\n\u003cp>[aside postid='arts_13901062']“On the new Yik Yak, it’s against the \u003ca href=\"https://yikyak.com/community-guardrails.html\" target=\"_blank\" rel=\"noopener noreferrer\">Community Guardrails\u003c/a> to post bullying messages or use hate speech, make threats, or share anyone’s private information,” the company says on its website.\u003c/p>\n\u003cp>It says if a user bullies another person, uses hate speech, makes a threat, or in any way seriously violates the company’s policies, they could be immediately banned from Yik Yak.\u003c/p>\n\u003cp>“We’re committed to making Yik Yak a fun place free of bullying, threats, and all sort of negativity,” the company said.\u003c/p>\n\u003cp>The app’s return drew mixed responses on Twitter, with some people worried that it would prompt more \u003ca href=\"https://twitter.com/artpopstan420/status/1427335140334719046?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">“toxicity in the world”\u003c/a> and others joking about being able to \u003ca href=\"https://twitter.com/victoriagraupp/status/1427311018066255883?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">complain anonymously about college life\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/artpopstan420/status/1427335140334719046\u003c/p>\n\u003cp>https://twitter.com/victoriagraupp/status/1427311018066255883\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Yik Yak is currently only available to iOS users to download in the U.S., but the company says it’s planning to expand to more countries and devices in the near future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yik+Yak%2C+The+Anonymous+App+That+Tested+Free+Speech%2C+Is+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a four-year break, Yik Yak, the once-popular anonymous messaging app that was blamed for \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2015/07/13/422620195/on-college-campuses-suicide-intervention-via-anonymous-app\" target=\"_blank\" rel=\"noopener noreferrer\">cyberbullying \u003c/a>and \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/01/23/463197593/yik-yak-tests-universities-defense-of-free-speech\" target=\"_blank\" rel=\"noopener noreferrer\">hate speech\u003c/a>, is back. This time, the new owners are promising to take a stronger stance against abuse.\u003c/p>\n\u003cp>The new owners of the company purchased the rights to redevelop the location-based app from its original maker in February, calling it “the same Yik Yak experience millions knew and loved.”\u003c/p>\n\u003cp>“We’re bringing Yik Yak back because we believe the global community deserves a place to be authentic, a place to be equal, and a place to connect with people nearby,” the new owners said on the \u003ca href=\"https://yikyak.com/the-yak-is-back\" target=\"_blank\" rel=\"noopener noreferrer\">company’s website on Monday.\u003c/a>\u003c/p>\n\u003ch3>Yik Yak was popular on campus\u003c/h3>\n\u003cp>Launched in 2013, Yik Yak swept the nation as it became popular across college campuses as well as middle schools and high schools.\u003c/p>\n\u003cp>The app allows users to post messages anonymously on its platform within a 5-mile radius of their location. The messages could be up-voted or down-voted by users.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the height of its popularity, the company raised $73 million and was once valued at around $400 million in 2014, according to \u003ca href=\"https://techcrunch.com/2021/08/16/yik-yak-is-back/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch.\u003c/a>\u003c/p>\n\u003cp>In April 2017, the company announced the app would be shutting down following a decline in its engagement from users—by the end of 2016, \u003ca href=\"https://techcrunch.com/2017/04/28/yik-yak-shuts-down-after-square-paid-1-million-for-its-engineers/\" target=\"_blank\" rel=\"noopener noreferrer\">user downloads had dropped 76%\u003c/a> in comparison to 2015.\u003c/p>\n\u003ch3>The new company takes a strong stance against hate speech and bullying\u003c/h3>\n\u003cp>Before shutting down in 2017, Yik Yak was the subject of hate speech and cyberbullying across high school and college campuses.\u003c/p>\n\u003cp>But with the newly launched app, owners say they’re committed to taking a strong stance against threats and other abuse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“On the new Yik Yak, it’s against the \u003ca href=\"https://yikyak.com/community-guardrails.html\" target=\"_blank\" rel=\"noopener noreferrer\">Community Guardrails\u003c/a> to post bullying messages or use hate speech, make threats, or share anyone’s private information,” the company says on its website.\u003c/p>\n\u003cp>It says if a user bullies another person, uses hate speech, makes a threat, or in any way seriously violates the company’s policies, they could be immediately banned from Yik Yak.\u003c/p>\n\u003cp>“We’re committed to making Yik Yak a fun place free of bullying, threats, and all sort of negativity,” the company said.\u003c/p>\n\u003cp>The app’s return drew mixed responses on Twitter, with some people worried that it would prompt more \u003ca href=\"https://twitter.com/artpopstan420/status/1427335140334719046?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">“toxicity in the world”\u003c/a> and others joking about being able to \u003ca href=\"https://twitter.com/victoriagraupp/status/1427311018066255883?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">complain anonymously about college life\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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