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"content": "\u003cp>The pandemic has definitely changed things for teenage girl activists. They’re worried about new problems, they’re facing bad attitudes—and they’re experimenting with new quarantine lifestyles, including one teen’s three-week “no-phone” detox. (Spoiler alert: She survived and thrived.)\u003c/p>\n\u003cp>NPR spoke to 11 girl activists during the (virtual) 2020 Girl Up Leadership Summit last week. Established by the United Nations Foundation, \u003ca href=\"https://girlup.org/#s\" target=\"_blank\" rel=\"noopener noreferrer\">Girl Up\u003c/a> encourages young females to advocate for the health, safety and education of girls and women around the world.\u003c/p>\n\u003cp>For many of the teens, the pandemic has worsened the problems against which they are passionately fighting. But that has only made them more determined to speak up. Here’s what they had to say in a joint Zoom interview. (This conversation has been edited for brevity and clarity.)\u003c/p>\n\u003ch3>\u003cstrong>The pre-pandemic style of activism doesn’t always work.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Hayat Muse, 17, Minneapolis—education equity activist\u003c/strong>\u003c/p>\n\u003cp>Muse is the co-founder of \u003ca href=\"https://www.kowiyolabo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kow iyo Labo\u003c/a>, a nonprofit that has offered free tutoring and mentoring for low-income students in Minneapolis for two years. Funded mainly by donations, the group has helped more than 200 students to date. But the coronavirus shut down the free, in-person lessons, and online learning isn’t an option since many of her regular students don’t have access to computers or Wi-Fi, she says. “Kow iyo Labo” means “1 and 2” in Somali and stands for two things, Muse says: “Education equity begins very early on before kids are even learning their numbers, and we, as a youth-led education movement, are just getting started!” The nonprofit has put a pause on tutoring until in-person lessons can resume.\u003c/p>\n\u003ch3>\u003cstrong>Xenophobia takes a toll.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Riya Goel, 16, West Orange, N.J.—activist against racism\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Goel, whose ethnic background is Indian, says she has seen racism against Asian communities intensify during the lockdown, especially at the beginning of the pandemic when the virus was first reported in China. “A lot of my friends got hate messages, hate texts,” she says. “People were saying things like ‘Go back to your country’ and using slurs, curse words and racial stereotypes. All these messages impacted their mental health. It makes one anxious to go into the public. It also just made us feel afraid and insecure of who we are as people.”\u003c/p>\n\u003ch3>\u003cstrong>The racial justice movement that was galvanized by George Floyd’s death resonates deeply with them. \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Vanessa Louis-Jean, 18, Columbia, S.C.—\u003c/strong>\u003cstrong>racial justice activist \u003c/strong>\u003c/p>\n\u003cp>Growing up in South Carolina, Louis-Jean has experienced racism firsthand. “A lot of people—especially in middle school—would say the N-word. I remember one time, a kid had a Confederate flag on the bus and was saying KKK slogans. I always felt like nobody really said anything.” When she saw the \u003ca href=\"https://www.npr.org/2015/07/11/421879591/confederate-flag-comes-down-a-tonic-for-the-american-soul\" target=\"_blank\" rel=\"noopener noreferrer\">Confederate flag removed from her statehouse\u003c/a> in July 2015 after a white supremacist carried out a mass shooting, Louis-Jean started speaking up. “It ignited me to take that step and encourage my peers and create awareness.” Now she volunteers with the \u003ca href=\"https://www.savethechildrenactionnetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Save the Children Action Network\u003c/a> to urge elected officials to address issues critical to children’s lives, including racism.\u003c/p>\n\u003cp>\u003cstrong>Alliyah Logan, 18, New York\u003c/strong> \u003cstrong>City\u003c/strong>—\u003cstrong>activist for safety among minority youth\u003c/strong>\u003c/p>\n\u003cp>Logan is an advocate for gun violence prevention and safety in vulnerable neighborhoods such as hers in the Bronx. She speaks up and writes about issues that make her and other minorities feel threatened and unsafe. “A lot of my peers have been impacted by gun violence and violence in general in our neighborhood because there’s a lack of protection for Black and brown youth,” she says. “With COVID-19, I saw that those same communities didn’t have access to medical resources.” Once the Black Lives Matter protests began, she took to the streets to protest with the New York Justice League: “I think it says a lot about our country, about America, that Black people have to put their lives on the line within a global pandemic to advocate against racism.” Logan also speaks out about issues such as \u003ca href=\"https://urldefense.com/v3/__https:/www.teenvogue.com/story/students-push-police-out-of-schools__;!!Iwwt!FN9UJSd2cTKq6s0qkf0poUanI3MUqd90CW6QGk_enf5yc967afEv4ZfMUKA9%24\" target=\"_blank\" rel=\"noopener noreferrer\">over-policing in schools\u003c/a>.\u003c/p>\n\u003ch3>\u003cstrong>They’re as passionate as ever about girls’ rights.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Mofi Onanuga, 17, South London, England—girls’ education rights and STEM activist\u003c/strong>\u003c/p>\n\u003cp>Onanuga attends a predominantly Black, underprivileged school in South London. “There is such a massive gap in STEM [science, technology, engineering and mathematics]. We’re told it’s a man’s world. We’re told that that line of work isn’t for women. That’s not the case. Whatever a man can do, as long as I’m headstrong, I can do it as well.”\u003c/p>\n\u003cp>\u003cstrong>Rym Badran, 17, Beirut—women in leadership activist \u003c/strong>\u003c/p>\n\u003cp>“I am a Muslim Arab girl living in the Middle East. There’s lots of stereotypes and misconceptions about Arab women. Lots of people think we are all oppressed, and this undermines the achievements of Arab women. I want to show Arab girls that you can do something and be whoever you want. From a very young age, I was extremely interested in politics. My passion is women political leadership and women and peace building. Lebanon is considered the most progressive Arab country, but right now we only have \u003ca href=\"https://english.alaraby.co.uk/english/news/2018/5/8/the-six-lebanese-women-voted-into-parliament\" target=\"_blank\" rel=\"noopener noreferrer\">six women in Parliament\u003c/a> out of 128.”\u003c/p>\n\u003ch3>\u003cstrong>They worry about vulnerable communities. \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Hayat Muse\u003c/strong>\u003c/p>\n\u003cp>“I went to 100% Black, underfunded elementary and middle schools in Minneapolis,” Muse says. She got her first glimpse at the inequities that exist in education when she transferred to a better-funded high school in the suburbs. “Coming from a place where our gym, cafeteria, everything was one classroom, then going to a place where they have a gym, a cafeteria and a huge basketball court the size of my whole [former] school. My friends [from my old school] would see me going to things like speech and debate, and they would say, ‘Oh, I wish our school had that.’ The high school I would have [attended] had no clubs. No extracurricular activities. It was shocking.”\u003c/p>\n\u003cp>\u003cstrong>Salomé Beyer, 17, Medellín, Colombia—gender violence activist\u003c/strong>\u003c/p>\n\u003cp>Since the COVID-19 lockdown began, \u003ca href=\"https://www.unwomen.org/en/digital-library/publications/2020/04/issue-brief-covid-19-and-ending-violence-against-women-and-girls\" target=\"_blank\" rel=\"noopener noreferrer\">violence against women\u003c/a> all over the world has intensified, according to research conducted by U.N. Women. Beyer says she is particularly concerned about women in her country, where calls to the nation’s domestic violence hotline reportedly have \u003ca href=\"https://www.efe.com/efe/america/sociedad/las-llamadas-por-violencia-de-genero-en-colombia-crecen-un-150-la-cuarentena/20000013-4282388\" target=\"_blank\" rel=\"noopener noreferrer\">increased 150% \u003c/a>compared with this same time last year.\u003c/p>\n\u003ch3>\u003cstrong>They’re big TikTok fans in spite of the \u003c/strong>\u003ca href=\"https://www.npr.org/2020/07/02/886845339/india-bans-dozens-of-chinese-apps-including-tiktok\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>controversy over the social media platform.\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Riya Goel\u003c/strong>\u003c/p>\n\u003cp>“Honestly, for me it’s TikTok right now. I think other platforms are a little boring. It’s super informational. I see things about nonprofits, protests and social justice movements all the time. I was able to see ways to stay safe during the protest or ways to advocate if you can’t make it to protests.”\u003c/p>\n\u003cp>\u003cstrong>Nora DiMartino, 16, Kensington, Md.—mental health activist\u003c/strong>\u003c/p>\n\u003cp>“Personally, it’s always going to be Instagram first for me. But one of my friends has been getting quite a following on TikTok sharing her opinions. You get these short videos—15 seconds or a bit more to make a point. And it makes people really direct and bold, and that starts so many conversations. When you have a short time to talk about something, you just say the biggest point.”\u003c/p>\n\u003ch3>\u003cstrong>They’re making the best of quarantine life.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Salomé Beyer\u003c/strong>\u003c/p>\n\u003cp>“I’ve actually been thriving in quarantine, and that is an indicator of my privilege—living in a house that has running water, electricity. I really do value family time a lot. My little brother, currently 11, was diagnosed with a brain tumor two years ago. On June 6, he celebrated two years of being cancer-free! We sang happy birthday, had cake and spent time together as a family. Whether baking with my mom or a game night or watching telenovelas, it’s amazing to have that time.”\u003c/p>\n\u003cp>\u003cstrong>Mofi Onanuga\u003c/strong>\u003c/p>\n\u003cp>“I’ve been spending so much time with my parents. Lots of bonding, lots of cooking, lots of game nights. I did a three-week phone detox, which was amazing.” Her goal was to focus on herself and issues important to her instead of her phone. In her phone-free time, she wrote about the Black Lives Matter movement, practiced Mandarin, went on walks, gardened, cooked—and got a good night’s sleep: “Beauty sleep is a thing, and it’s been working.”\u003c/p>\n\u003ch3>\u003cstrong>They’re TV binging!\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Nora DiMartino\u003c/strong>\u003c/p>\n\u003cp>“I’ve really been enjoying \u003ca href=\"https://www.npr.org/2019/09/27/764591532/the-politician-digs-for-the-drama-in-high-school-politics\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Politician\u003c/em>\u003c/a> on Netflix. It’s about a group of young people who are running for student council in the first season and in the second season are running for state Senate. It’s super-funny and really inclusive.”\u003c/p>\n\u003cp>\u003cstrong>Riya Goel\u003c/strong>\u003c/p>\n\u003cp>“I’ve been really enjoying Hasan Minhaj’s show, \u003ca href=\"https://www.npr.org/2020/06/28/884385147/hasan-minhaj-discusses-the-sixth-season-of-patriot-act\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Patriot Act\u003c/em>\u003c/a>. I think that he is such a great person in terms of explaining everything really well. Also, for me, seeing an Asian in comedy and seeing that representation is just so valuable. We don’t really see a lot of Asians in media.”\u003c/p>\n\u003cp>\u003cstrong>Hayat Musef\u003c/strong>\u003c/p>\n\u003cp>“I feel like my answer sounds way less intelligent in comparison, but sometimes you need to take a break. I’ve been watching a lot of rom-coms and chick flicks just so I can take a mind escape from everything going on.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://nadiawhitehead.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nadia Whitehead\u003c/em>\u003c/a> \u003cem>is a freelance journalist and science writer. Her work has appeared in\u003c/em> Science, The Washington Post \u003cem>and NPR. Find her on Twitter\u003c/em> \u003ca href=\"https://twitter.com/nadiamacias\" target=\"_blank\" rel=\"noopener noreferrer\">@NadiaMacias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=8+Things+Teen+Girl+Activists+Want+You+To+Know+About+Their+Pandemic+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pandemic has definitely changed things for teenage girl activists. They’re worried about new problems, they’re facing bad attitudes—and they’re experimenting with new quarantine lifestyles, including one teen’s three-week “no-phone” detox. (Spoiler alert: She survived and thrived.)\u003c/p>\n\u003cp>NPR spoke to 11 girl activists during the (virtual) 2020 Girl Up Leadership Summit last week. Established by the United Nations Foundation, \u003ca href=\"https://girlup.org/#s\" target=\"_blank\" rel=\"noopener noreferrer\">Girl Up\u003c/a> encourages young females to advocate for the health, safety and education of girls and women around the world.\u003c/p>\n\u003cp>For many of the teens, the pandemic has worsened the problems against which they are passionately fighting. But that has only made them more determined to speak up. Here’s what they had to say in a joint Zoom interview. (This conversation has been edited for brevity and clarity.)\u003c/p>\n\u003ch3>\u003cstrong>The pre-pandemic style of activism doesn’t always work.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Hayat Muse, 17, Minneapolis—education equity activist\u003c/strong>\u003c/p>\n\u003cp>Muse is the co-founder of \u003ca href=\"https://www.kowiyolabo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kow iyo Labo\u003c/a>, a nonprofit that has offered free tutoring and mentoring for low-income students in Minneapolis for two years. Funded mainly by donations, the group has helped more than 200 students to date. But the coronavirus shut down the free, in-person lessons, and online learning isn’t an option since many of her regular students don’t have access to computers or Wi-Fi, she says. “Kow iyo Labo” means “1 and 2” in Somali and stands for two things, Muse says: “Education equity begins very early on before kids are even learning their numbers, and we, as a youth-led education movement, are just getting started!” The nonprofit has put a pause on tutoring until in-person lessons can resume.\u003c/p>\n\u003ch3>\u003cstrong>Xenophobia takes a toll.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Riya Goel, 16, West Orange, N.J.—activist against racism\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Goel, whose ethnic background is Indian, says she has seen racism against Asian communities intensify during the lockdown, especially at the beginning of the pandemic when the virus was first reported in China. “A lot of my friends got hate messages, hate texts,” she says. “People were saying things like ‘Go back to your country’ and using slurs, curse words and racial stereotypes. All these messages impacted their mental health. It makes one anxious to go into the public. It also just made us feel afraid and insecure of who we are as people.”\u003c/p>\n\u003ch3>\u003cstrong>The racial justice movement that was galvanized by George Floyd’s death resonates deeply with them. \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Vanessa Louis-Jean, 18, Columbia, S.C.—\u003c/strong>\u003cstrong>racial justice activist \u003c/strong>\u003c/p>\n\u003cp>Growing up in South Carolina, Louis-Jean has experienced racism firsthand. “A lot of people—especially in middle school—would say the N-word. I remember one time, a kid had a Confederate flag on the bus and was saying KKK slogans. I always felt like nobody really said anything.” When she saw the \u003ca href=\"https://www.npr.org/2015/07/11/421879591/confederate-flag-comes-down-a-tonic-for-the-american-soul\" target=\"_blank\" rel=\"noopener noreferrer\">Confederate flag removed from her statehouse\u003c/a> in July 2015 after a white supremacist carried out a mass shooting, Louis-Jean started speaking up. “It ignited me to take that step and encourage my peers and create awareness.” Now she volunteers with the \u003ca href=\"https://www.savethechildrenactionnetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Save the Children Action Network\u003c/a> to urge elected officials to address issues critical to children’s lives, including racism.\u003c/p>\n\u003cp>\u003cstrong>Alliyah Logan, 18, New York\u003c/strong> \u003cstrong>City\u003c/strong>—\u003cstrong>activist for safety among minority youth\u003c/strong>\u003c/p>\n\u003cp>Logan is an advocate for gun violence prevention and safety in vulnerable neighborhoods such as hers in the Bronx. She speaks up and writes about issues that make her and other minorities feel threatened and unsafe. “A lot of my peers have been impacted by gun violence and violence in general in our neighborhood because there’s a lack of protection for Black and brown youth,” she says. “With COVID-19, I saw that those same communities didn’t have access to medical resources.” Once the Black Lives Matter protests began, she took to the streets to protest with the New York Justice League: “I think it says a lot about our country, about America, that Black people have to put their lives on the line within a global pandemic to advocate against racism.” Logan also speaks out about issues such as \u003ca href=\"https://urldefense.com/v3/__https:/www.teenvogue.com/story/students-push-police-out-of-schools__;!!Iwwt!FN9UJSd2cTKq6s0qkf0poUanI3MUqd90CW6QGk_enf5yc967afEv4ZfMUKA9%24\" target=\"_blank\" rel=\"noopener noreferrer\">over-policing in schools\u003c/a>.\u003c/p>\n\u003ch3>\u003cstrong>They’re as passionate as ever about girls’ rights.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Mofi Onanuga, 17, South London, England—girls’ education rights and STEM activist\u003c/strong>\u003c/p>\n\u003cp>Onanuga attends a predominantly Black, underprivileged school in South London. “There is such a massive gap in STEM [science, technology, engineering and mathematics]. We’re told it’s a man’s world. We’re told that that line of work isn’t for women. That’s not the case. Whatever a man can do, as long as I’m headstrong, I can do it as well.”\u003c/p>\n\u003cp>\u003cstrong>Rym Badran, 17, Beirut—women in leadership activist \u003c/strong>\u003c/p>\n\u003cp>“I am a Muslim Arab girl living in the Middle East. There’s lots of stereotypes and misconceptions about Arab women. Lots of people think we are all oppressed, and this undermines the achievements of Arab women. I want to show Arab girls that you can do something and be whoever you want. From a very young age, I was extremely interested in politics. My passion is women political leadership and women and peace building. Lebanon is considered the most progressive Arab country, but right now we only have \u003ca href=\"https://english.alaraby.co.uk/english/news/2018/5/8/the-six-lebanese-women-voted-into-parliament\" target=\"_blank\" rel=\"noopener noreferrer\">six women in Parliament\u003c/a> out of 128.”\u003c/p>\n\u003ch3>\u003cstrong>They worry about vulnerable communities. \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Hayat Muse\u003c/strong>\u003c/p>\n\u003cp>“I went to 100% Black, underfunded elementary and middle schools in Minneapolis,” Muse says. She got her first glimpse at the inequities that exist in education when she transferred to a better-funded high school in the suburbs. “Coming from a place where our gym, cafeteria, everything was one classroom, then going to a place where they have a gym, a cafeteria and a huge basketball court the size of my whole [former] school. My friends [from my old school] would see me going to things like speech and debate, and they would say, ‘Oh, I wish our school had that.’ The high school I would have [attended] had no clubs. No extracurricular activities. It was shocking.”\u003c/p>\n\u003cp>\u003cstrong>Salomé Beyer, 17, Medellín, Colombia—gender violence activist\u003c/strong>\u003c/p>\n\u003cp>Since the COVID-19 lockdown began, \u003ca href=\"https://www.unwomen.org/en/digital-library/publications/2020/04/issue-brief-covid-19-and-ending-violence-against-women-and-girls\" target=\"_blank\" rel=\"noopener noreferrer\">violence against women\u003c/a> all over the world has intensified, according to research conducted by U.N. Women. Beyer says she is particularly concerned about women in her country, where calls to the nation’s domestic violence hotline reportedly have \u003ca href=\"https://www.efe.com/efe/america/sociedad/las-llamadas-por-violencia-de-genero-en-colombia-crecen-un-150-la-cuarentena/20000013-4282388\" target=\"_blank\" rel=\"noopener noreferrer\">increased 150% \u003c/a>compared with this same time last year.\u003c/p>\n\u003ch3>\u003cstrong>They’re big TikTok fans in spite of the \u003c/strong>\u003ca href=\"https://www.npr.org/2020/07/02/886845339/india-bans-dozens-of-chinese-apps-including-tiktok\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>controversy over the social media platform.\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Riya Goel\u003c/strong>\u003c/p>\n\u003cp>“Honestly, for me it’s TikTok right now. I think other platforms are a little boring. It’s super informational. I see things about nonprofits, protests and social justice movements all the time. I was able to see ways to stay safe during the protest or ways to advocate if you can’t make it to protests.”\u003c/p>\n\u003cp>\u003cstrong>Nora DiMartino, 16, Kensington, Md.—mental health activist\u003c/strong>\u003c/p>\n\u003cp>“Personally, it’s always going to be Instagram first for me. But one of my friends has been getting quite a following on TikTok sharing her opinions. You get these short videos—15 seconds or a bit more to make a point. And it makes people really direct and bold, and that starts so many conversations. When you have a short time to talk about something, you just say the biggest point.”\u003c/p>\n\u003ch3>\u003cstrong>They’re making the best of quarantine life.\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Salomé Beyer\u003c/strong>\u003c/p>\n\u003cp>“I’ve actually been thriving in quarantine, and that is an indicator of my privilege—living in a house that has running water, electricity. I really do value family time a lot. My little brother, currently 11, was diagnosed with a brain tumor two years ago. On June 6, he celebrated two years of being cancer-free! We sang happy birthday, had cake and spent time together as a family. Whether baking with my mom or a game night or watching telenovelas, it’s amazing to have that time.”\u003c/p>\n\u003cp>\u003cstrong>Mofi Onanuga\u003c/strong>\u003c/p>\n\u003cp>“I’ve been spending so much time with my parents. Lots of bonding, lots of cooking, lots of game nights. I did a three-week phone detox, which was amazing.” Her goal was to focus on herself and issues important to her instead of her phone. In her phone-free time, she wrote about the Black Lives Matter movement, practiced Mandarin, went on walks, gardened, cooked—and got a good night’s sleep: “Beauty sleep is a thing, and it’s been working.”\u003c/p>\n\u003ch3>\u003cstrong>They’re TV binging!\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Nora DiMartino\u003c/strong>\u003c/p>\n\u003cp>“I’ve really been enjoying \u003ca href=\"https://www.npr.org/2019/09/27/764591532/the-politician-digs-for-the-drama-in-high-school-politics\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Politician\u003c/em>\u003c/a> on Netflix. It’s about a group of young people who are running for student council in the first season and in the second season are running for state Senate. It’s super-funny and really inclusive.”\u003c/p>\n\u003cp>\u003cstrong>Riya Goel\u003c/strong>\u003c/p>\n\u003cp>“I’ve been really enjoying Hasan Minhaj’s show, \u003ca href=\"https://www.npr.org/2020/06/28/884385147/hasan-minhaj-discusses-the-sixth-season-of-patriot-act\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Patriot Act\u003c/em>\u003c/a>. I think that he is such a great person in terms of explaining everything really well. Also, for me, seeing an Asian in comedy and seeing that representation is just so valuable. We don’t really see a lot of Asians in media.”\u003c/p>\n\u003cp>\u003cstrong>Hayat Musef\u003c/strong>\u003c/p>\n\u003cp>“I feel like my answer sounds way less intelligent in comparison, but sometimes you need to take a break. I’ve been watching a lot of rom-coms and chick flicks just so I can take a mind escape from everything going on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://nadiawhitehead.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nadia Whitehead\u003c/em>\u003c/a> \u003cem>is a freelance journalist and science writer. Her work has appeared in\u003c/em> Science, The Washington Post \u003cem>and NPR. Find her on Twitter\u003c/em> \u003ca href=\"https://twitter.com/nadiamacias\" target=\"_blank\" rel=\"noopener noreferrer\">@NadiaMacias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=8+Things+Teen+Girl+Activists+Want+You+To+Know+About+Their+Pandemic+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "1918 Flu Inspired 'Pull of the Stars' is a Disquieting Pandemic Novel",
"headTitle": "1918 Flu Inspired ‘Pull of the Stars’ is a Disquieting Pandemic Novel | KQED",
"content": "\u003cp>Readers are awaiting novels of the pandemic, and \u003ca href=\"https://www.npr.org/books/authors/137887218/emma-donoghue\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Donoghue\u003c/a> just may have stumbled into writing one of the first.\u003c/p>\n\u003cp>As Donoghue explains in the author’s note to her new novel, \u003cem>The Pull of the Stars,\u003c/em> she began writing the story in 2018, inspired by the centenary of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/05/15/855319598/what-the-1918-flu-can-teach-us-about-handling-todays-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish Flu pandemic\u003c/a>. Donoghue delivered the final draft to her publishers this past March, just as a stunned world was taking in the enormity of \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/30/822491838/coronavirus-world-map-tracking-the-spread-of-the-outbreak\" target=\"_blank\" rel=\"noopener noreferrer\">the coronavirus crisis\u003c/a>.\u003c/p>\n\u003cp>Understandably, her publishers fast-tracked the publication of \u003cem>The Pull of the Stars,\u003c/em> which is set in a maternity ward in 1918 in Dublin, a city hollowed out by the flu, World War I and the 1916 Irish Uprising.\u003c/p>\n\u003cp>In doing a deep dive into the miseries and terrors of the past, Donoghue presciently anticipated the miseries and terrors of our present: the claustrophobia of days spent inside, empty schools and cafes, and the ubiquity of masks, here quaintly described as “bluntly pointed … like the beaks of unfamiliar birds.”\u003c/p>\n\u003cp>Reading \u003cem>The Pull of the Stars\u003c/em> now is such a disquieting experience—and certainly a very different one than it would’ve been had the novel come earlier. The “fourth wall” of fiction is broken here for readers: The pandemic spreads out beyond the pages of Donoghue’s novel into whatever rooms we are quarantined in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The main character of \u003cem>The Pull of the Stars\u003c/em> is Julia Power, a nurse midwife, about to turn 30, who shares a flat with her shell-shocked younger brother. Julia works in a supply room that’s been turned into a three-bed maternity ward/delivery room for fever victims. Julia’s patients, among them a newly married teenage girl and a delirious woman who has seven children already waiting at home for her, are in various stages of agony.\u003c/p>\n\u003cp>The mortality rate for flu victims during and after labor is sky high, but Julia also observes there’s another contributing cause that’s never listed on the charts. After one of her patients dies, Julia is tempted to put down as cause of death:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Worn down to the bone\u003c/em>. Mother of five by the age of twenty-four, an underfed daughter of underfed generations, …\u003c/p>\n\u003cp>Always on their feet, these Dublin mothers … living off the scraps left on plates and gallons of weak black tea. The slums in which they somehow managed to stay alive were as pertinent as pulse or respiratory rate, it seemed to me, but only medical observations were permitted on a chart. So instead of \u003cem>poverty, \u003c/em>I’d write \u003cem>malnourishment \u003c/em>or \u003cem>debility\u003c/em>. As code for \u003cem>too many pregnancies, \u003c/em>I might put \u003cem>anaemia, … low spirits, … torn cervix, or uterine prolapse.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Two other women squeeze into that improvised ward to work alongside Julia: Bridie Sweeney, an orphan sent over by the nuns to do grunt work, and Dr. Kathleen Lynn, an actual historical figure.\u003c/p>\n\u003cp>Dr. Lynn took part in the Uprising, was jailed by the British and founded a free clinic in Dublin. There’s a risk that both these characters could turn out to be a bit precious, but Donoghue swerves away from contrivance: She’s such a deft, lyrical and sometimes even cheeky writer.\u003c/p>\n\u003cp>For instance, during a quick break, a male orderly comes in and opines about women voting, which he dismisses because women don’t serve, don’t pay what he calls the “blood tax.” Donoghue knows to just let the irony of that remark lie. Hours before, Julia has had to manually remove the afterbirth from a hemorrhaging new mother. She’s only practiced on an orange but gamely reaches into, what she describes as, “a cave behind a waterfall; hot red past the gloves all the way up my arm.”Hours later, another woman in labor almost dies in “a sea of red.” And, not to forget, all these laboring women—certainly paying a “blood tax”—also have the flu, which they will pass on to some of their caregivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I suggested earlier that perhaps Donoghue has given us one of our first pandemic novels, but that’s not quite right. Instead, I’d say she’s given us our first pandemic \u003cem>caregiver\u003c/em> novel—an engrossing and inadvertently topical story about health care workers inside small rooms fighting to preserve life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=1918+Flu+Inspired+Donoghue%27s+%27Pull+Of+The+Stars%27+%E2%80%94+A+Disquieting+Pandemic+Novel&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Readers are awaiting novels of the pandemic, and \u003ca href=\"https://www.npr.org/books/authors/137887218/emma-donoghue\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Donoghue\u003c/a> just may have stumbled into writing one of the first.\u003c/p>\n\u003cp>As Donoghue explains in the author’s note to her new novel, \u003cem>The Pull of the Stars,\u003c/em> she began writing the story in 2018, inspired by the centenary of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/05/15/855319598/what-the-1918-flu-can-teach-us-about-handling-todays-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish Flu pandemic\u003c/a>. Donoghue delivered the final draft to her publishers this past March, just as a stunned world was taking in the enormity of \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/30/822491838/coronavirus-world-map-tracking-the-spread-of-the-outbreak\" target=\"_blank\" rel=\"noopener noreferrer\">the coronavirus crisis\u003c/a>.\u003c/p>\n\u003cp>Understandably, her publishers fast-tracked the publication of \u003cem>The Pull of the Stars,\u003c/em> which is set in a maternity ward in 1918 in Dublin, a city hollowed out by the flu, World War I and the 1916 Irish Uprising.\u003c/p>\n\u003cp>In doing a deep dive into the miseries and terrors of the past, Donoghue presciently anticipated the miseries and terrors of our present: the claustrophobia of days spent inside, empty schools and cafes, and the ubiquity of masks, here quaintly described as “bluntly pointed … like the beaks of unfamiliar birds.”\u003c/p>\n\u003cp>Reading \u003cem>The Pull of the Stars\u003c/em> now is such a disquieting experience—and certainly a very different one than it would’ve been had the novel come earlier. The “fourth wall” of fiction is broken here for readers: The pandemic spreads out beyond the pages of Donoghue’s novel into whatever rooms we are quarantined in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The main character of \u003cem>The Pull of the Stars\u003c/em> is Julia Power, a nurse midwife, about to turn 30, who shares a flat with her shell-shocked younger brother. Julia works in a supply room that’s been turned into a three-bed maternity ward/delivery room for fever victims. Julia’s patients, among them a newly married teenage girl and a delirious woman who has seven children already waiting at home for her, are in various stages of agony.\u003c/p>\n\u003cp>The mortality rate for flu victims during and after labor is sky high, but Julia also observes there’s another contributing cause that’s never listed on the charts. After one of her patients dies, Julia is tempted to put down as cause of death:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Worn down to the bone\u003c/em>. Mother of five by the age of twenty-four, an underfed daughter of underfed generations, …\u003c/p>\n\u003cp>Always on their feet, these Dublin mothers … living off the scraps left on plates and gallons of weak black tea. The slums in which they somehow managed to stay alive were as pertinent as pulse or respiratory rate, it seemed to me, but only medical observations were permitted on a chart. So instead of \u003cem>poverty, \u003c/em>I’d write \u003cem>malnourishment \u003c/em>or \u003cem>debility\u003c/em>. As code for \u003cem>too many pregnancies, \u003c/em>I might put \u003cem>anaemia, … low spirits, … torn cervix, or uterine prolapse.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Two other women squeeze into that improvised ward to work alongside Julia: Bridie Sweeney, an orphan sent over by the nuns to do grunt work, and Dr. Kathleen Lynn, an actual historical figure.\u003c/p>\n\u003cp>Dr. Lynn took part in the Uprising, was jailed by the British and founded a free clinic in Dublin. There’s a risk that both these characters could turn out to be a bit precious, but Donoghue swerves away from contrivance: She’s such a deft, lyrical and sometimes even cheeky writer.\u003c/p>\n\u003cp>For instance, during a quick break, a male orderly comes in and opines about women voting, which he dismisses because women don’t serve, don’t pay what he calls the “blood tax.” Donoghue knows to just let the irony of that remark lie. Hours before, Julia has had to manually remove the afterbirth from a hemorrhaging new mother. She’s only practiced on an orange but gamely reaches into, what she describes as, “a cave behind a waterfall; hot red past the gloves all the way up my arm.”Hours later, another woman in labor almost dies in “a sea of red.” And, not to forget, all these laboring women—certainly paying a “blood tax”—also have the flu, which they will pass on to some of their caregivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I suggested earlier that perhaps Donoghue has given us one of our first pandemic novels, but that’s not quite right. Instead, I’d say she’s given us our first pandemic \u003cem>caregiver\u003c/em> novel—an engrossing and inadvertently topical story about health care workers inside small rooms fighting to preserve life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=1918+Flu+Inspired+Donoghue%27s+%27Pull+Of+The+Stars%27+%E2%80%94+A+Disquieting+Pandemic+Novel&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sex lives of people in Morocco are shaped by cultural forces—and also the penal code. Sex outside marriage is illegal, and so is abortion in almost all cases. Adultery is punishable by prison time. And as for violating Morocco’s cultural laws—those punishments fall mostly on women.\u003c/p>\n\u003cp>The French-Moroccan writer Leila Slimani explores the places where desire, intimacy and the patriarchy collide in her new book, S\u003cem>ex and Lies: True Stories of Women’s Intimate Lives in the Arab World\u003c/em>.\u003c/p>\n\u003cp>As a girl and then a teenager, Slimani says, “I always heard people speaking about girls as dangerous. The fact that you can be raped, that you can be attacked. And also that being a woman was being a temptress. So I’ve always had this idea that I had something in me that was dirty, that was not pure, and everyone was talking about the good girls. You know, this ideal of the good girl who is pure, who is, of course, a virgin, who is going to sacrifice herself for other people. And I could feel, even as a very young girl, that I was not this kind of girl. So I couldn’t feel pure, and I felt that I was going to disappoint my whole society.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Morocco’s unofficial motto for sex: Do what you wish, but never talk about it.\u003c/strong>\u003c/p>\n\u003cp>It means that the big problem now in Morocco is that the penal code lays down imprisonment of up to a year for anyone engaging [in] sex before marriage. Two years for adultery and three years if you are homosexual. Abortion is illegal. But, of course, as you can imagine, everyone is having sex in Morocco like everywhere else. But if you’re in the wrong place at the wrong time, you can always be arrested, or you will have to give some money to a policeman or to someone if you don’t want to have a problem. So everyone is telling you, okay, do whatever you want, but lie all the time. And especially women—for a woman, it’s very difficult to live openly and to speak with honesty of your sexual life. People want you to be a hypocrite and a liar and to hide yourself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On one woman, Nour, featured in the book\u003c/strong>\u003c/p>\n\u003cp>She was a very shy woman, very, very sweet. And I asked her if she wanted to share things with me when it comes to sexuality. And I asked her very intimate questions, and at the beginning, because she was shy, I was afraid she was going to reject me. But she said, ‘Yes, I have something to tell you.’ And at the beginning of the conversation, I understood that something very violent and something terrible happened to her. So what is very sad with this testimony is that at the end, I’m not sure that this woman is going to be a free woman. I’m not sure she’s going to choose this path, the path of freedom, because she understands very much that it’s going to cost her a lot. And it’s what is tragic now in Morocco is that I meet a lot of [women] who say to me, ‘Yeah, I would love to be free, but I’m not sure it’s worth it. I’m going to lose so much being a free woman that maybe I prefer to be alienated and to do what society wants me to do, because I’m too afraid to be free.’\u003c/p>\n\u003cp>\u003cstrong>On the connection between sexual repression and sexual violence\u003c/strong>\u003c/p>\n\u003cp>You know, the problem is that there is no gray zone between the whore and a virgin. You’re a whore or a virgin. You can’t be something else. So, of course, the way people look at you when you are a free woman, or when you act free, or when you—for instance, you speak out, you give your opinion, the way you can behave in the street. And men will see you. And in a certain way, I think he wants to punish you. He wants to punish you for this freedom, because this freedom is defying him, is defying his power.\u003c/p>\n\u003cp>\u003cstrong>On the audience she hopes to reach\u003c/strong>\u003c/p>\n\u003cp>I have women friends, women who are Jews, for instance, and who lived in a very Orthodox family—she said it’s exactly the same in every religion: Woman is depicted, is described as a provocateur, as a temptress. It’s the figure of Eve who is eating the apple, and everything is a mess after that. So I want to speak to everyone. And, you know, to use a very famous quote now, I would say that what I want to say to Moroccan society is that women’s lives matter, even if those women are just simple women. And no one is seeing them. No one is having any consideration for them. And when they speak about sex, people are just going to judge and to say you’re a whore and we don’t want to hear you. And I want to tell them, no, that’s not true. These women matter. And we have to listen to them.\u003c/p>\n\u003cp>\u003cstrong>On why women are singled out for sexual censure\u003c/strong>\u003c/p>\n\u003cp>That’s still a mystery for me. And I’m not sure that I really have the answer to this question. But I think that we have this idea that men need sex. For men, it’s a need, like he needs to eat, he needs to drink and he needs to have sex. So there is no judgment of that—it’s not a moral problem. He just needs that. For women, it’s very different. I think that’s the way our cultures, and especially the monotheist religions, look at the woman’s desire—it’s very mysterious. We don’t really understand what provokes it.\u003c/p>\n\u003cp>\u003cstrong>On the criticism that demanding sexual liberation in Morocco is imposing Western values\u003c/strong>\u003c/p>\n\u003cp>You know, I believe in universality, and I think that a desire to be free is not something that belongs to Western world. We all want to be free. I want to be free. And I was not born in France or in a Western country. I was born and raised in Morocco. And I can understand freedom, equality, justice. And anyone from China to Peru and Morocco can ask for that—for justice, for freedom, for equality. And I think that it’s a misunderstanding—it’s a complete misunderstanding of what I am trying to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Noah Caldwell and Jolie Myers and was adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sex+And+Lies%27+Author+Leila+Slimani%3A+%27Women%27s+Lives+Matter%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sex lives of people in Morocco are shaped by cultural forces—and also the penal code. Sex outside marriage is illegal, and so is abortion in almost all cases. Adultery is punishable by prison time. And as for violating Morocco’s cultural laws—those punishments fall mostly on women.\u003c/p>\n\u003cp>The French-Moroccan writer Leila Slimani explores the places where desire, intimacy and the patriarchy collide in her new book, S\u003cem>ex and Lies: True Stories of Women’s Intimate Lives in the Arab World\u003c/em>.\u003c/p>\n\u003cp>As a girl and then a teenager, Slimani says, “I always heard people speaking about girls as dangerous. The fact that you can be raped, that you can be attacked. And also that being a woman was being a temptress. So I’ve always had this idea that I had something in me that was dirty, that was not pure, and everyone was talking about the good girls. You know, this ideal of the good girl who is pure, who is, of course, a virgin, who is going to sacrifice herself for other people. And I could feel, even as a very young girl, that I was not this kind of girl. So I couldn’t feel pure, and I felt that I was going to disappoint my whole society.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Morocco’s unofficial motto for sex: Do what you wish, but never talk about it.\u003c/strong>\u003c/p>\n\u003cp>It means that the big problem now in Morocco is that the penal code lays down imprisonment of up to a year for anyone engaging [in] sex before marriage. Two years for adultery and three years if you are homosexual. Abortion is illegal. But, of course, as you can imagine, everyone is having sex in Morocco like everywhere else. But if you’re in the wrong place at the wrong time, you can always be arrested, or you will have to give some money to a policeman or to someone if you don’t want to have a problem. So everyone is telling you, okay, do whatever you want, but lie all the time. And especially women—for a woman, it’s very difficult to live openly and to speak with honesty of your sexual life. People want you to be a hypocrite and a liar and to hide yourself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On one woman, Nour, featured in the book\u003c/strong>\u003c/p>\n\u003cp>She was a very shy woman, very, very sweet. And I asked her if she wanted to share things with me when it comes to sexuality. And I asked her very intimate questions, and at the beginning, because she was shy, I was afraid she was going to reject me. But she said, ‘Yes, I have something to tell you.’ And at the beginning of the conversation, I understood that something very violent and something terrible happened to her. So what is very sad with this testimony is that at the end, I’m not sure that this woman is going to be a free woman. I’m not sure she’s going to choose this path, the path of freedom, because she understands very much that it’s going to cost her a lot. And it’s what is tragic now in Morocco is that I meet a lot of [women] who say to me, ‘Yeah, I would love to be free, but I’m not sure it’s worth it. I’m going to lose so much being a free woman that maybe I prefer to be alienated and to do what society wants me to do, because I’m too afraid to be free.’\u003c/p>\n\u003cp>\u003cstrong>On the connection between sexual repression and sexual violence\u003c/strong>\u003c/p>\n\u003cp>You know, the problem is that there is no gray zone between the whore and a virgin. You’re a whore or a virgin. You can’t be something else. So, of course, the way people look at you when you are a free woman, or when you act free, or when you—for instance, you speak out, you give your opinion, the way you can behave in the street. And men will see you. And in a certain way, I think he wants to punish you. He wants to punish you for this freedom, because this freedom is defying him, is defying his power.\u003c/p>\n\u003cp>\u003cstrong>On the audience she hopes to reach\u003c/strong>\u003c/p>\n\u003cp>I have women friends, women who are Jews, for instance, and who lived in a very Orthodox family—she said it’s exactly the same in every religion: Woman is depicted, is described as a provocateur, as a temptress. It’s the figure of Eve who is eating the apple, and everything is a mess after that. So I want to speak to everyone. And, you know, to use a very famous quote now, I would say that what I want to say to Moroccan society is that women’s lives matter, even if those women are just simple women. And no one is seeing them. No one is having any consideration for them. And when they speak about sex, people are just going to judge and to say you’re a whore and we don’t want to hear you. And I want to tell them, no, that’s not true. These women matter. And we have to listen to them.\u003c/p>\n\u003cp>\u003cstrong>On why women are singled out for sexual censure\u003c/strong>\u003c/p>\n\u003cp>That’s still a mystery for me. And I’m not sure that I really have the answer to this question. But I think that we have this idea that men need sex. For men, it’s a need, like he needs to eat, he needs to drink and he needs to have sex. So there is no judgment of that—it’s not a moral problem. He just needs that. For women, it’s very different. I think that’s the way our cultures, and especially the monotheist religions, look at the woman’s desire—it’s very mysterious. We don’t really understand what provokes it.\u003c/p>\n\u003cp>\u003cstrong>On the criticism that demanding sexual liberation in Morocco is imposing Western values\u003c/strong>\u003c/p>\n\u003cp>You know, I believe in universality, and I think that a desire to be free is not something that belongs to Western world. We all want to be free. I want to be free. And I was not born in France or in a Western country. I was born and raised in Morocco. And I can understand freedom, equality, justice. And anyone from China to Peru and Morocco can ask for that—for justice, for freedom, for equality. And I think that it’s a misunderstanding—it’s a complete misunderstanding of what I am trying to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Megan Thee Stallion said on Wednesday that she had been shot during an incident that took place in the Hollywood Hills early Sunday morning.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/CCrBV3vlHvA/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a>, Megan wrote: “On Sunday morning, I suffered gunshot wounds, as a result of a crime that was committed against me and done with the intention to physically harm me.”\u003c/p>\n\u003cp>She continued, “I was never arrested, the police officers drove me to the hospital where I underwent surgery to remove the bullets. I’m incredibly grateful to be alive and that I’m expected to make a full recovery, but it was important for me to clarify the details about this traumatic night.”\u003c/p>\n\u003cp>Early media reports, including one posted on TMZ, attributed her injuries to the rapper having stepped on \u003ca href=\"https://www.tmz.com/2020/07/13/tory-lanez-arrested-gun-concealed-weapon-charge-megan-thee-stallion-involved/\" target=\"_blank\" rel=\"noopener noreferrer\">broken glass\u003c/a> during the incident. Police had reportedly responded to a complaint about an argument outside a house party in the Hollywood Hills. TMZ reported that witnesses heard people arguing inside an SUV, and that shots were fired outside the party. When police tracked down the SUV, they encountered three people in the car: Megan, fellow rapper Tory Lanez and an unidentified woman. Lanez (born Daystar Peterson) was arrested for carrying a concealed weapon in a vehicle.\u003c/p>\n\u003cp>In her Instagram statement, Megan did not identify the shooter. Her statement was released shortly after TMZ posted\u003ca href=\"https://www.tmz.com/2020/07/15/megan-thee-stallion-shot-twice-foot-tory-lanez-arrest-glass-injury/\" target=\"_blank\" rel=\"noopener noreferrer\"> a video of Lanez’ arrest\u003c/a>. During the footage, a woman who appears to be Megan is shown exiting the SUV with her hands up following a policeman’s orders, and is also shown handcuffed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 25-year-old musician’s song “Savage” went to No. 1 on the Billboard Hot 100 chart in May, after it went viral on TikTok and was remixed in a version featuring Beyoncé.\u003c/p>\n\u003cp>Last October, Megan, whose real name is Megan Pete, \u003ca href=\"https://www.youtube.com/watch?v=GYJ03MIPoIk\" target=\"_blank\" rel=\"noopener noreferrer\">performed\u003c/a> as part of NPR Music’s popular Tiny Desk concert series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lEIqjoO0-Bs\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Rapper+Megan+Thee+Stallion+Says+She+Was+Shot+On+Sunday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"title": "Fired Over Anti-Semitic Comments, Nick Cannon Wants 'Wild 'N Out' Ownership",
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"content": "\u003cp>Nick Cannon—the actor, TV show host and musician—has been fired from his long-running comedy improv show \u003cem>Wild ‘N Out\u003c/em>. It comes after he made anti-Semitic comments on his podcast and YouTube show, \u003cem>Cannon’s Class\u003c/em>. \u003cem>Wild ‘N Out’s \u003c/em>parent company ViacomCBS, released a statement saying, “We are deeply troubled that Nick has failed to acknowledge or apologize for perpetuating anti-Semitism, and we are terminating our relationship with him.”\u003c/p>\n\u003cp>Cannon responded to the firing via a post on \u003ca href=\"https://www.facebook.com/NickCannon/posts/4326941627323521?__tn__=K-R\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, saying “I must apologize to my Jewish Brothers and Sisters for putting them in such a painful position, which was never my intention, but I know this whole situation has hurt many people and together we will make it right.”\u003c/p>\n\u003cp>Cannon adds that he tried to reach out to ViacomCBS chair Shari Redstone to apologize—a claim which a ViacomCBS spokesperson called “absolutely untrue.”\u003c/p>\n\u003cp>Cannon also demanded full ownership of the \u003cem>Wild ‘N Out \u003c/em>brand he helped create. “Based on trust and empty promises, my ownership was swindled away from me,” he writes. “For Viacom to be so deceptive is no surprise; they have been mistreating and robbing our community for years, underpaying talent on their biggest brands like Love & Hip Hop, all of BET programming and of course, Wild ‘N Out.”\u003c/p>\n\u003cp>The podcast \u003ca href=\"https://www.youtube.com/watch?v=w0HkK-AmOL8\" target=\"_blank\" rel=\"noopener noreferrer\">episode in question\u003c/a> features Cannon interviewing Richard Griffin, better known as Professor Griff, who was kicked out of the wildly popular rap group Public Enemy in 1989 after doing an interview in the \u003cem>Washington Times\u003c/em>, where he \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1989/12/29/public-enemys-rap-record-stirs-jewish-protests/3ac1c658-1746-4ec6-be7c-4a9d52bcd070/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly \u003c/a>\u003ca href=\"https://www.nytimes.com/1989/08/11/arts/public-enemy-rap-group-reorganizes-after-anti-semitic-comments.html\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that Jews were responsible “for the majority of wickedness that goes on across the globe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the interview Cannon engages in anti-Semitic conspiracy theories, asking why “we give so much power to the ‘theys,’ and ‘theys’ turn into illuminati, the Zionists, the Rothschilds,”—referring to the wealthy Jewish family often used as a dog whistle for \u003ca href=\"https://antisemitism.adl.org/power/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-Semitism\u003c/a>.\u003c/p>\n\u003cp>Cannon’s firing is happening at the same time as other high-profile figures (in \u003ca href=\"https://www.cnn.com/2020/07/09/us/stephen-jackson-desean-jackson-anti-semitic-remarks/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">sports\u003c/a> and \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9400472/ice-cube-criticized-anti-semitic-images-conspiracy-theories\" target=\"_blank\" rel=\"noopener noreferrer\">music\u003c/a>) have recently trafficked in similar anti-Semitic conspiracies—all summed up in a \u003ca href=\"https://www.hollywoodreporter.com/news/kareem-abdul-jabbar-is-outrage-anti-semitism-sports-hollywood-1303210\" target=\"_blank\" rel=\"noopener noreferrer\">recent op-ed \u003c/a>from Kareem Abdul-Jabbar in \u003cem>The Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>These famous, outspoken people share the same scapegoat logic as all oppressive groups from Nazis to the KKK: all our troubles are because of bad-apple groups that worship wrong, have the wrong complexion, come from the wrong country, are the wrong gender or love the wrong gender. It’s so disheartening to see people from groups that have been violently marginalized do the same thing to others without realizing that perpetuating this kind of bad logic is what perpetuates racism.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Cannon is still the host of the Fox singing competition show \u003cem>The Masked Singer. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Fired+Over+Anti-Semitic+Comments%2C+Nick+Cannon+Wants+%27Wild+%27N+Out%27+Ownership&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nick Cannon—the actor, TV show host and musician—has been fired from his long-running comedy improv show \u003cem>Wild ‘N Out\u003c/em>. It comes after he made anti-Semitic comments on his podcast and YouTube show, \u003cem>Cannon’s Class\u003c/em>. \u003cem>Wild ‘N Out’s \u003c/em>parent company ViacomCBS, released a statement saying, “We are deeply troubled that Nick has failed to acknowledge or apologize for perpetuating anti-Semitism, and we are terminating our relationship with him.”\u003c/p>\n\u003cp>Cannon responded to the firing via a post on \u003ca href=\"https://www.facebook.com/NickCannon/posts/4326941627323521?__tn__=K-R\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, saying “I must apologize to my Jewish Brothers and Sisters for putting them in such a painful position, which was never my intention, but I know this whole situation has hurt many people and together we will make it right.”\u003c/p>\n\u003cp>Cannon adds that he tried to reach out to ViacomCBS chair Shari Redstone to apologize—a claim which a ViacomCBS spokesperson called “absolutely untrue.”\u003c/p>\n\u003cp>Cannon also demanded full ownership of the \u003cem>Wild ‘N Out \u003c/em>brand he helped create. “Based on trust and empty promises, my ownership was swindled away from me,” he writes. “For Viacom to be so deceptive is no surprise; they have been mistreating and robbing our community for years, underpaying talent on their biggest brands like Love & Hip Hop, all of BET programming and of course, Wild ‘N Out.”\u003c/p>\n\u003cp>The podcast \u003ca href=\"https://www.youtube.com/watch?v=w0HkK-AmOL8\" target=\"_blank\" rel=\"noopener noreferrer\">episode in question\u003c/a> features Cannon interviewing Richard Griffin, better known as Professor Griff, who was kicked out of the wildly popular rap group Public Enemy in 1989 after doing an interview in the \u003cem>Washington Times\u003c/em>, where he \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1989/12/29/public-enemys-rap-record-stirs-jewish-protests/3ac1c658-1746-4ec6-be7c-4a9d52bcd070/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly \u003c/a>\u003ca href=\"https://www.nytimes.com/1989/08/11/arts/public-enemy-rap-group-reorganizes-after-anti-semitic-comments.html\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that Jews were responsible “for the majority of wickedness that goes on across the globe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the interview Cannon engages in anti-Semitic conspiracy theories, asking why “we give so much power to the ‘theys,’ and ‘theys’ turn into illuminati, the Zionists, the Rothschilds,”—referring to the wealthy Jewish family often used as a dog whistle for \u003ca href=\"https://antisemitism.adl.org/power/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-Semitism\u003c/a>.\u003c/p>\n\u003cp>Cannon’s firing is happening at the same time as other high-profile figures (in \u003ca href=\"https://www.cnn.com/2020/07/09/us/stephen-jackson-desean-jackson-anti-semitic-remarks/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">sports\u003c/a> and \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9400472/ice-cube-criticized-anti-semitic-images-conspiracy-theories\" target=\"_blank\" rel=\"noopener noreferrer\">music\u003c/a>) have recently trafficked in similar anti-Semitic conspiracies—all summed up in a \u003ca href=\"https://www.hollywoodreporter.com/news/kareem-abdul-jabbar-is-outrage-anti-semitism-sports-hollywood-1303210\" target=\"_blank\" rel=\"noopener noreferrer\">recent op-ed \u003c/a>from Kareem Abdul-Jabbar in \u003cem>The Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>These famous, outspoken people share the same scapegoat logic as all oppressive groups from Nazis to the KKK: all our troubles are because of bad-apple groups that worship wrong, have the wrong complexion, come from the wrong country, are the wrong gender or love the wrong gender. It’s so disheartening to see people from groups that have been violently marginalized do the same thing to others without realizing that perpetuating this kind of bad logic is what perpetuates racism.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Cannon is still the host of the Fox singing competition show \u003cem>The Masked Singer. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Fired+Over+Anti-Semitic+Comments%2C+Nick+Cannon+Wants+%27Wild+%27N+Out%27+Ownership&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Residents at the Sydmar Lodge Care Home in Edgeware, England, have been in lockdown for four months.\u003c/p>\n\u003cp>As activities manager at the home, Robert Speker wanted to keep spirits up while visitors and outside entertainment aren’t permitted.\u003c/p>\n\u003cp>Thus, a brilliant project was born: re-creating classic album covers with residents cast as the rock stars.\u003c/p>\n\u003cp>Speker \u003ca href=\"https://twitter.com/robertspeker/status/1281627807546839042\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>side-by-side photos of the original covers and the Sydmar Lodge residents’ new takes, and the tweets quickly took off.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627747136274432\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of British singer Adele, meet 93-year-old Vera.\u003c/p>\n\u003cp>Riffing on Springsteen’s famous \u003cem>Born In The U.S.A.\u003c/em>, there’s a blue-jeaned Martin Steinberg in front of the English flag.\u003c/p>\n\u003cp>Could anyone improve upon David Bowie’s iconic lightning-bolt painted face? Roma Cohen appears to be an icon herself with the lightning bolt highlighted by her white hair.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627807546839042?s=20\u003c/p>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Electrical engineer, robotics wiz, \u003cem>Mythbusters\u003c/em>‘ cast member, Disney consultant, TV host and Hollywood animatronics designer Grant Imahara died Monday. He was 49.\u003c/p>\n\u003cp>“We are heartbroken to hear this sad news about Grant,” Discovery Channel wrote in a statement. “He was an important part of our Discovery family and a really wonderful man. Our thoughts and prayers go out to his family.”\u003c/p>\n\u003cp>Imahara was best known as a member of the “Build Team” on Discovery’s \u003cem>Mythbusters\u003c/em> along with Tory Belleci and Kari Byron. The trio managed to impart \u003cem>some\u003c/em> scientific knowledge while partaking in truly madcap, sophomoric experiments that fans around the world adored.\u003c/p>\n\u003cp>Imahara was undaunted by even the most outlandish technical challenges. When Craig Ferguson lamented he was the only late-night talk show host without a sidekick, Imahara built him a goofy-looking, skeletal robot with a metal mohawk named \u003ca href=\"https://www.youtube.com/watch?v=1fDHRrUN0hA&list=PLhDXmGOqxaH6cHKwxpF0THLnleZPUk0Zz&index=9\" target=\"_blank\" rel=\"noopener noreferrer\">Geoff Peterson\u003c/a>.\u003c/p>\n\u003cp>At George Lucas’ Industrial Light & Magic, he was one of a select group of R2-D2’s “official operators,” controlling the peripatetic robot’s movements in \u003cem>Star Wars.\u003c/em> To make sure the Energizer Bunny briskly drummed its way across the screen during those battery commercials, Imahara \u003ca href=\"https://go.discovery.com/tv-shows/mythbusters/bios/grant-imahara\" target=\"_blank\" rel=\"noopener noreferrer\">developed\u003c/a> “a custom circuit to cycle the Energizer Bunny’s arm beats and ears at a constant rate.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A native of Los Angeles, Imahara received a bachelor of science degree in electrical engineering from the University of Southern California. In \u003ca href=\"https://www.wiley.com/en-us/Kickin%27+Bot%3A+An+Illustrated+Guide+to+Building+Combat+Robots-p-9780764541131\" target=\"_blank\" rel=\"noopener noreferrer\">his 2003 book\u003c/a>, \u003cem>Kickin’ Bot: An Illustrated Guide to Building Combat Robots\u003c/em>, he shared what he learned building remote-controlled robots and competing in the TV show \u003cem>BattleBots \u003c/em>with his champion machine \u003ca href=\"https://battlebots.fandom.com/wiki/Deadblow\" target=\"_blank\" rel=\"noopener noreferrer\">Deadblow\u003c/a>.\u003c/p>\n\u003cp>A constant tinkerer, Imahara was clearly thrilled with one of his last creations, a Baby Yoda that would tour children’s hospitals. “Pleased to present my newest creation: a fully \u003ca href=\"https://www.facebook.com/grant.imahara/videos/10159590399167782/?t=3\" target=\"_blank\" rel=\"noopener noreferrer\">animatronic Baby Yoda\u003c/a>,” he wrote on his \u003ca href=\"https://www.facebook.com/grantimaharaofficial/posts/2608019852746806\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> page in March. “It’s been three months of hard work and countless revisions. He’s a personal project that I started in early December. I did all the mechanical design, programming, and 3D printed the molds. He’s currently running a continuous sequence, but soon I’ll be able to trigger specific moods and reactions, as well as incorporate sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Grant was a truly brilliant engineer, artist and performer, but also just such a generous, easygoing, and gentle PERSON,” \u003cem>Mythbusters\u003c/em> co-host Adam Savage \u003ca href=\"https://twitter.com/donttrythis/status/1282885559816347648?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Twitter\u003c/a>. “Working with Grant was so much fun. I’ll miss my friend.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Mythbusters%27+Star+Grant+Imahara%2C+Electrical+Engineer+And+Robotics+Wiz%2C+Dies+At+49&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A native of Los Angeles, Imahara received a bachelor of science degree in electrical engineering from the University of Southern California. In \u003ca href=\"https://www.wiley.com/en-us/Kickin%27+Bot%3A+An+Illustrated+Guide+to+Building+Combat+Robots-p-9780764541131\" target=\"_blank\" rel=\"noopener noreferrer\">his 2003 book\u003c/a>, \u003cem>Kickin’ Bot: An Illustrated Guide to Building Combat Robots\u003c/em>, he shared what he learned building remote-controlled robots and competing in the TV show \u003cem>BattleBots \u003c/em>with his champion machine \u003ca href=\"https://battlebots.fandom.com/wiki/Deadblow\" target=\"_blank\" rel=\"noopener noreferrer\">Deadblow\u003c/a>.\u003c/p>\n\u003cp>A constant tinkerer, Imahara was clearly thrilled with one of his last creations, a Baby Yoda that would tour children’s hospitals. “Pleased to present my newest creation: a fully \u003ca href=\"https://www.facebook.com/grant.imahara/videos/10159590399167782/?t=3\" target=\"_blank\" rel=\"noopener noreferrer\">animatronic Baby Yoda\u003c/a>,” he wrote on his \u003ca href=\"https://www.facebook.com/grantimaharaofficial/posts/2608019852746806\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> page in March. “It’s been three months of hard work and countless revisions. He’s a personal project that I started in early December. I did all the mechanical design, programming, and 3D printed the molds. He’s currently running a continuous sequence, but soon I’ll be able to trigger specific moods and reactions, as well as incorporate sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Grant was a truly brilliant engineer, artist and performer, but also just such a generous, easygoing, and gentle PERSON,” \u003cem>Mythbusters\u003c/em> co-host Adam Savage \u003ca href=\"https://twitter.com/donttrythis/status/1282885559816347648?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Twitter\u003c/a>. “Working with Grant was so much fun. I’ll miss my friend.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Mythbusters%27+Star+Grant+Imahara%2C+Electrical+Engineer+And+Robotics+Wiz%2C+Dies+At+49&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Ventura County Sheriff’s Office confirms it has recovered the body of Naya Rivera from a California lake. Divers have been searching the lake since shortly after Naya Rivera disappeared on July 8 while boating with her 4-year-old son. \u003c/p>\n\u003cp>Best known for her starring role on the Fox show \u003cem>Glee\u003c/em>, the actor is presumed to have drowned on Wednesday while boating on Lake Piru in the Los Padres National Forest, not far from Los Angeles. Rivera was 33 years old.\u003c/p>\n\u003cp>Sheriff William “Bill” Ayub says Rivera was not wearing a life vest, though one was found on the boat. \u003c/p>\n\u003cp>For six seasons, from 2009 to 2015, Rivera played the role of an unexpectedly popular television antihero. \u003cem>Glee\u003c/em>’s Santana Lopez was a cynical, initially closeted high school cheerleader with charisma to burn and an ax to grind. “The only straight I am is straight-up bitch,” Santana announced in Season 2. But the character’s bullying eventually yielded to team spirit and a tender romance with another cheerleader, the sweet natured but dim Brittany.\u003c/p>\n\u003cp>\u003cem>Glee\u003c/em> fans pushed for the storyline, which became one of the most popular arcs on the show. “Who knows if the writers would have taken that relationship so seriously if there hadn’t been such an outpouring for them to get together,” Rivera \u003ca href=\"https://www.latimes.com/entertainment/tv/la-xpm-2011-may-24-la-et-naya-rivera-20110524-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The Los Angeles Times\u003c/em> in 2011\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A child actor and model, Rivera was barely more than a toddler when she played Redd Foxx’s granddaughter on the CBS comedy \u003cem>The Royal Family\u003c/em>. More television work followed, with appearances on such programs as \u003cem>The Fresh Prince of Bel-Air\u003c/em>, \u003cem>Baywatch\u003c/em>, \u003cem>The Bernie Mac Show\u003c/em> and \u003cem>CSI: Miami\u003c/em>.\u003c/p>\n\u003cp>Her breakthrough character, \u003ci>Glee\u003c/i>’s Santana, was originally conceived as a minor role, but Rivera brought swagger and unexpected sensitivity to the spiky character. Although \u003ca href=\"https://www.npr.org/2013/01/02/168215115/whos-gay-on-tv-dads-journalists-investigators-and-footmen\" target=\"_blank\" rel=\"noopener noreferrer\">some critics at the time complained\u003c/a> about seeing yet another traditionally beautiful queer femme of color, the character has also been celebrated as an outspoken, charismatic Latinx who pushes back against stereotyping.\u003c/p>\n\u003cp>“Honestly, I never thought I’d actually be playing a teen lesbian,” Rivera said in \u003cem>The Los Angeles Times\u003c/em> interview. “I didn’t think it was going to go this far. But I’m glad that it did, because there have been a lot of fans who have expressed that they’ve been going through similar situations in their lives. I’ve heard from girls that are in high school—they’re 16, 17—and they’re like, ‘I came out to my mom,’ or ‘I came out to my friends, and thank you for helping me do that.’”\u003c/p>\n\u003cp>Rivera was not gay in real life; she was engaged to the rapper Big Sean, with whom she recorded a single in 2013. She later married the actor Ryan Dorsey, whom she divorced in 2018. After \u003cem>Glee\u003c/em> ended in 2015, Rivera appeared on the Lifetime show \u003cem>Devious Maids\u003c/em> and the YouTube Red series \u003cem>Step Up: High Water\u003c/em>.\u003c/p>\n\u003cp>Rivera rented a boat on the afternoon of Wednesday, July 8, with her 4-year-old son. The boy was found safely in the boat and told authorities that his mother had gone swimming. She is the third regular cast member of \u003cem>Glee \u003c/em>to have died tragically and unexpectedly in the past five years. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Ventura County Sheriff’s Office confirms it has recovered the body of Naya Rivera from a California lake. Divers have been searching the lake since shortly after Naya Rivera disappeared on July 8 while boating with her 4-year-old son. \u003c/p>\n\u003cp>Best known for her starring role on the Fox show \u003cem>Glee\u003c/em>, the actor is presumed to have drowned on Wednesday while boating on Lake Piru in the Los Padres National Forest, not far from Los Angeles. Rivera was 33 years old.\u003c/p>\n\u003cp>Sheriff William “Bill” Ayub says Rivera was not wearing a life vest, though one was found on the boat. \u003c/p>\n\u003cp>For six seasons, from 2009 to 2015, Rivera played the role of an unexpectedly popular television antihero. \u003cem>Glee\u003c/em>’s Santana Lopez was a cynical, initially closeted high school cheerleader with charisma to burn and an ax to grind. “The only straight I am is straight-up bitch,” Santana announced in Season 2. But the character’s bullying eventually yielded to team spirit and a tender romance with another cheerleader, the sweet natured but dim Brittany.\u003c/p>\n\u003cp>\u003cem>Glee\u003c/em> fans pushed for the storyline, which became one of the most popular arcs on the show. “Who knows if the writers would have taken that relationship so seriously if there hadn’t been such an outpouring for them to get together,” Rivera \u003ca href=\"https://www.latimes.com/entertainment/tv/la-xpm-2011-may-24-la-et-naya-rivera-20110524-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The Los Angeles Times\u003c/em> in 2011\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A child actor and model, Rivera was barely more than a toddler when she played Redd Foxx’s granddaughter on the CBS comedy \u003cem>The Royal Family\u003c/em>. More television work followed, with appearances on such programs as \u003cem>The Fresh Prince of Bel-Air\u003c/em>, \u003cem>Baywatch\u003c/em>, \u003cem>The Bernie Mac Show\u003c/em> and \u003cem>CSI: Miami\u003c/em>.\u003c/p>\n\u003cp>Her breakthrough character, \u003ci>Glee\u003c/i>’s Santana, was originally conceived as a minor role, but Rivera brought swagger and unexpected sensitivity to the spiky character. Although \u003ca href=\"https://www.npr.org/2013/01/02/168215115/whos-gay-on-tv-dads-journalists-investigators-and-footmen\" target=\"_blank\" rel=\"noopener noreferrer\">some critics at the time complained\u003c/a> about seeing yet another traditionally beautiful queer femme of color, the character has also been celebrated as an outspoken, charismatic Latinx who pushes back against stereotyping.\u003c/p>\n\u003cp>“Honestly, I never thought I’d actually be playing a teen lesbian,” Rivera said in \u003cem>The Los Angeles Times\u003c/em> interview. “I didn’t think it was going to go this far. But I’m glad that it did, because there have been a lot of fans who have expressed that they’ve been going through similar situations in their lives. I’ve heard from girls that are in high school—they’re 16, 17—and they’re like, ‘I came out to my mom,’ or ‘I came out to my friends, and thank you for helping me do that.’”\u003c/p>\n\u003cp>Rivera was not gay in real life; she was engaged to the rapper Big Sean, with whom she recorded a single in 2013. She later married the actor Ryan Dorsey, whom she divorced in 2018. After \u003cem>Glee\u003c/em> ended in 2015, Rivera appeared on the Lifetime show \u003cem>Devious Maids\u003c/em> and the YouTube Red series \u003cem>Step Up: High Water\u003c/em>.\u003c/p>\n\u003cp>Rivera rented a boat on the afternoon of Wednesday, July 8, with her 4-year-old son. The boy was found safely in the boat and told authorities that his mother had gone swimming. She is the third regular cast member of \u003cem>Glee \u003c/em>to have died tragically and unexpectedly in the past five years. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kick Back With 'Palm Springs,' a Witty Romcom About Fighting Despair",
"headTitle": "Kick Back With ‘Palm Springs,’ a Witty Romcom About Fighting Despair | KQED",
"content": "\u003cp>There’s an argument that a review of \u003cem>Palm Springs\u003c/em>, new this weekend on Hulu, should just say, “Watch it; it’s fun. Andy Samberg, Cristin Milioti, romantic comedy hijinks—just watch it.” That’s as much as I knew about it, and I enjoyed seeing it reveal itself, and if you’re willing to take my word for it, then off with you! Watch it; it’s fun.\u003c/p>\n\u003cp>Now … what to say to the rest of you, who need a little more, or who have already seen promotion for the film that you can’t unsee. Promotion that gives away the premise.\u003c/p>\n\u003cp>“\u003cem>Groundhog Day \u003c/em>at a wedding” is a piece of shorthand that wouldn’t be a lie. More specifically: Nyles (Samberg) is trapped in a time loop, much like \u003cem>Groundhog Day\u003c/em>‘s Phil (Bill Murray). He spends every day at the same wedding at the same venue in Palm Springs, where he sees the same people (including a girlfriend he doesn’t particularly like), and then the next day, he wakes up, and he does it all over again. There’s a woman at the wedding named Sarah (Milioti), who’s the bride’s sister. Nyles is used to seeing her and talking to her; she’s part of the routine. But every version of this day is a little different, and on one of them, an unexpected event yanks her into the time loop with him. So now she’s waking up over and over again on the day of the wedding too, and she can’t get out of it either, and they have only each other to talk to about it, since everyone is blissfully at the wedding for the first and only time, every day. Just the way Sarah always was for Nyles, until this happened.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>was directed by Max Barbakow and written by Andy Siara, and while it has the stamp (literally and figuratively) of the Lonely Island, Samberg’s longtime comedy shop, it’s also a little bit of a different shading of his persona.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CpBLtXduh_k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Particularly if you see it a second time, you pick up a cleverness in what Samberg is doing with his weary portrayal of Nyles. This is a man who has learned that nothing has consequences, and (unlike Phil) he mostly doesn’t like that (at least by the time we meet him), and he doesn’t exploit that fact to be mean; he exploits it to be weird. He can make strange wedding speeches, hook up with whomever he wants, try anything, and none of it matters. So he drifts through the day, again and again, without purpose. It’s dangerous to seek metaphors that are too literal, but if you made this a metaphor for how depression feels to some people, you wouldn’t be far off. Nobody understands what’s happening to you and nobody understands how you feel, nobody except you can see the futility of every day, so you can only sit back and wonder at the foolishness that makes people care about anything.\u003c/p>\n\u003cp>And of course, into this mess comes Sarah. Milioti is an actress who hasn’t had a lot of exactly-right roles in film and television; she can play very sunny and sweet as she did on \u003cem>How I Met Your Mother\u003c/em>, but she’s a more interesting and emotionally angular actor than that. Here, you really get her as a perfect romantic comedy lead and yet a fresh one. This is a woman who can get past her own shock and bafflement to seek a way to live in the time loop without losing herself, but she also can slice through Nyles’ self-pity and his (frankly earned) nihilism. Because it doesn’t take long for her to adopt a very different attitude toward this version of confinement than Nyles has. Hers is something more like, \u003cem>we gotta get out of here. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>features a terrific supporting turn from the reliable J.K. Simmons as Roy, a man whose part in all this it would be unsporting to explain too much, except to say that the role calls on Simmons’ ability to play dry and wise observers of the world, but also his flair for pure comedy. (Nobody but me will likely care that this is a reunion of Simmons and Peter Gallagher, who plays Sarah’s father and also co-starred on Broadway in \u003cem>Guys and Dolls \u003c/em>when Gallagher was Sky Masterson and Simmons was Benny Southstreet, right? Right, right.) Simmons improves 99% of the projects he appears in, and it turns out a full-length buddy comedy featuring him with Andy Samberg is a feature film I would very much watch in the future.\u003c/p>\n\u003cp>The thing about a gimmick like time loops is that the thing itself will not sustain interest. We’ve seen that—\u003cem>Groundhog Day\u003c/em>, sure, but also in \u003cem>Edge Of Tomorrow\u003c/em>, \u003cem>Happy Death Day\u003c/em> and more. It comes down to what you do with it. The good part of \u003cem>Groundhog Day \u003c/em>for me has always been the lighter observations about what this kind of life would make possible: amazing people by predicting what was about to happen, mastering a skill through endless practice, and so forth. But the ugly part has always been the way Phil manipulates Rita (Andie MacDowell) intentionally, and the way it all winds up being about his redemption, which solves his problem and gives him everything he wants.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>is still a comedy, don’t get me wrong. But it’s using the time loop idea to think about something interesting. A time loop is a form of meaninglessness, really, and fighting that requires figuring out what you’re going to get out of bed for every day. It’s not that once Nyles is nice and is redeemed, all his problems are solved. He’s mostly pretty nice all along. It’s that both of these people have to decide how to add some kind of stakes to their own lives, because if they wanted to, they really could just float in the pool and drink at the wedding forever, and they could even have each other’s company along the way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that, it turns out, isn’t much of a life, staying in the same place, seeing the same people, having the same routine, even if it means nothing particularly terrible happens to you either. \u003cem>We gotta get out of here\u003c/em>, indeed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kick+Back+With+%27Palm+Springs%2C%27+A+Witty+Romcom+About+Fighting+Despair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an argument that a review of \u003cem>Palm Springs\u003c/em>, new this weekend on Hulu, should just say, “Watch it; it’s fun. Andy Samberg, Cristin Milioti, romantic comedy hijinks—just watch it.” That’s as much as I knew about it, and I enjoyed seeing it reveal itself, and if you’re willing to take my word for it, then off with you! Watch it; it’s fun.\u003c/p>\n\u003cp>Now … what to say to the rest of you, who need a little more, or who have already seen promotion for the film that you can’t unsee. Promotion that gives away the premise.\u003c/p>\n\u003cp>“\u003cem>Groundhog Day \u003c/em>at a wedding” is a piece of shorthand that wouldn’t be a lie. More specifically: Nyles (Samberg) is trapped in a time loop, much like \u003cem>Groundhog Day\u003c/em>‘s Phil (Bill Murray). He spends every day at the same wedding at the same venue in Palm Springs, where he sees the same people (including a girlfriend he doesn’t particularly like), and then the next day, he wakes up, and he does it all over again. There’s a woman at the wedding named Sarah (Milioti), who’s the bride’s sister. Nyles is used to seeing her and talking to her; she’s part of the routine. But every version of this day is a little different, and on one of them, an unexpected event yanks her into the time loop with him. So now she’s waking up over and over again on the day of the wedding too, and she can’t get out of it either, and they have only each other to talk to about it, since everyone is blissfully at the wedding for the first and only time, every day. Just the way Sarah always was for Nyles, until this happened.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>was directed by Max Barbakow and written by Andy Siara, and while it has the stamp (literally and figuratively) of the Lonely Island, Samberg’s longtime comedy shop, it’s also a little bit of a different shading of his persona.\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/CpBLtXduh_k'\n title='//www.youtube.com/embed/CpBLtXduh_k'\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>Particularly if you see it a second time, you pick up a cleverness in what Samberg is doing with his weary portrayal of Nyles. This is a man who has learned that nothing has consequences, and (unlike Phil) he mostly doesn’t like that (at least by the time we meet him), and he doesn’t exploit that fact to be mean; he exploits it to be weird. He can make strange wedding speeches, hook up with whomever he wants, try anything, and none of it matters. So he drifts through the day, again and again, without purpose. It’s dangerous to seek metaphors that are too literal, but if you made this a metaphor for how depression feels to some people, you wouldn’t be far off. Nobody understands what’s happening to you and nobody understands how you feel, nobody except you can see the futility of every day, so you can only sit back and wonder at the foolishness that makes people care about anything.\u003c/p>\n\u003cp>And of course, into this mess comes Sarah. Milioti is an actress who hasn’t had a lot of exactly-right roles in film and television; she can play very sunny and sweet as she did on \u003cem>How I Met Your Mother\u003c/em>, but she’s a more interesting and emotionally angular actor than that. Here, you really get her as a perfect romantic comedy lead and yet a fresh one. This is a woman who can get past her own shock and bafflement to seek a way to live in the time loop without losing herself, but she also can slice through Nyles’ self-pity and his (frankly earned) nihilism. Because it doesn’t take long for her to adopt a very different attitude toward this version of confinement than Nyles has. Hers is something more like, \u003cem>we gotta get out of here. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>features a terrific supporting turn from the reliable J.K. Simmons as Roy, a man whose part in all this it would be unsporting to explain too much, except to say that the role calls on Simmons’ ability to play dry and wise observers of the world, but also his flair for pure comedy. (Nobody but me will likely care that this is a reunion of Simmons and Peter Gallagher, who plays Sarah’s father and also co-starred on Broadway in \u003cem>Guys and Dolls \u003c/em>when Gallagher was Sky Masterson and Simmons was Benny Southstreet, right? Right, right.) Simmons improves 99% of the projects he appears in, and it turns out a full-length buddy comedy featuring him with Andy Samberg is a feature film I would very much watch in the future.\u003c/p>\n\u003cp>The thing about a gimmick like time loops is that the thing itself will not sustain interest. We’ve seen that—\u003cem>Groundhog Day\u003c/em>, sure, but also in \u003cem>Edge Of Tomorrow\u003c/em>, \u003cem>Happy Death Day\u003c/em> and more. It comes down to what you do with it. The good part of \u003cem>Groundhog Day \u003c/em>for me has always been the lighter observations about what this kind of life would make possible: amazing people by predicting what was about to happen, mastering a skill through endless practice, and so forth. But the ugly part has always been the way Phil manipulates Rita (Andie MacDowell) intentionally, and the way it all winds up being about his redemption, which solves his problem and gives him everything he wants.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>is still a comedy, don’t get me wrong. But it’s using the time loop idea to think about something interesting. A time loop is a form of meaninglessness, really, and fighting that requires figuring out what you’re going to get out of bed for every day. It’s not that once Nyles is nice and is redeemed, all his problems are solved. He’s mostly pretty nice all along. It’s that both of these people have to decide how to add some kind of stakes to their own lives, because if they wanted to, they really could just float in the pool and drink at the wedding forever, and they could even have each other’s company along the way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that, it turns out, isn’t much of a life, staying in the same place, seeing the same people, having the same routine, even if it means nothing particularly terrible happens to you either. \u003cem>We gotta get out of here\u003c/em>, indeed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kick+Back+With+%27Palm+Springs%2C%27+A+Witty+Romcom+About+Fighting+Despair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kelly Preston, Actress and Wife of John Travolta, Dead at 57",
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"content": "\u003cp>Actress Kelly Preston has died after a two-year battle with breast cancer, according to an \u003ca href=\"https://www.instagram.com/p/CCkgCG5ptxE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from her husband, John Travolta. She was 57 years old.\u003c/p>\n\u003cp>“She fought a courageous fight with the love and support of so many,” the actor wrote. “My family and I will forever be grateful to her doctors and nurses at MD Anderson Cancer Center, all the medical centers that have helped, as well as her many friends and loved ones who have been by her side.”\u003c/p>\n\u003cp>A family representative told \u003cem>\u003ca href=\"https://people.com/movies/kelly-preston-dies-of-breast-cancer-at-57/\" target=\"_blank\" rel=\"noopener noreferrer\">People\u003c/a>\u003c/em> that Preston had been undergoing treatment for some time but chose to keep her illness private. “She was a bright, beautiful and loving soul who cared deeply about others and who brought life to everything she touched. Her family asks for your understanding of their need for privacy at this time,” the rep told the magazine.\u003c/p>\n\u003cp>Preston was born Oct. 13, 1962, in Honolulu. She acted in various TV shows but rose to fame after her role in the 1988 Arnold Schwarzenegger and Danny DeVito comedy, \u003cem>Twins\u003c/em>. She met her future husband shortly afterward on the set of the coming-of-age comedy \u003cem>The Experts\u003c/em>. The two got married in 1991.\u003c/p>\n\u003cp>She went on to act in movies such as \u003cem>Jerry Maguire\u003c/em> and\u003cem> Jack Frost\u003c/em>, and made an appearance in the Travolta sci-fi movie \u003cem>Battlefield Earth\u003c/em>. Preston also acted alongside her husband in the 2018 biopic \u003cem>Gotti\u003c/em>, playing the late mobster’s wife, Victoria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Travolta and Preston had three children together. Their son Jett died at age 16 in January 2009 after a seizure.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kelly+Preston%2C+Actress+And+Wife+Of+John+Travolta%2C+Dead+At+57&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Kelly Preston has died after a two-year battle with breast cancer, according to an \u003ca href=\"https://www.instagram.com/p/CCkgCG5ptxE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from her husband, John Travolta. She was 57 years old.\u003c/p>\n\u003cp>“She fought a courageous fight with the love and support of so many,” the actor wrote. “My family and I will forever be grateful to her doctors and nurses at MD Anderson Cancer Center, all the medical centers that have helped, as well as her many friends and loved ones who have been by her side.”\u003c/p>\n\u003cp>A family representative told \u003cem>\u003ca href=\"https://people.com/movies/kelly-preston-dies-of-breast-cancer-at-57/\" target=\"_blank\" rel=\"noopener noreferrer\">People\u003c/a>\u003c/em> that Preston had been undergoing treatment for some time but chose to keep her illness private. “She was a bright, beautiful and loving soul who cared deeply about others and who brought life to everything she touched. Her family asks for your understanding of their need for privacy at this time,” the rep told the magazine.\u003c/p>\n\u003cp>Preston was born Oct. 13, 1962, in Honolulu. She acted in various TV shows but rose to fame after her role in the 1988 Arnold Schwarzenegger and Danny DeVito comedy, \u003cem>Twins\u003c/em>. She met her future husband shortly afterward on the set of the coming-of-age comedy \u003cem>The Experts\u003c/em>. The two got married in 1991.\u003c/p>\n\u003cp>She went on to act in movies such as \u003cem>Jerry Maguire\u003c/em> and\u003cem> Jack Frost\u003c/em>, and made an appearance in the Travolta sci-fi movie \u003cem>Battlefield Earth\u003c/em>. Preston also acted alongside her husband in the 2018 biopic \u003cem>Gotti\u003c/em>, playing the late mobster’s wife, Victoria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Travolta and Preston had three children together. Their son Jett died at age 16 in January 2009 after a seizure.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kelly+Preston%2C+Actress+And+Wife+Of+John+Travolta%2C+Dead+At+57&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Start Here: Your Guide to Getting Into K-Pop",
"headTitle": "Start Here: Your Guide to Getting Into K-Pop | KQED",
"content": "\u003cp>The last half-decade of Western pop music has been dominated by whisper-singing: a deliberately dry, almost ASMR-like performance style popularized by the likes of major label “indie pop” artists Julia Michaels, Selena Gomez, Lana Del Rey and Billie Eilish. The sound is hushed and pacifying, a response to the chaos of the world, the millennial’s music equivalent to minimalistic interior design—why belt when you could soothe?\u003c/p>\n\u003cp>K-pop idol music, meanwhile, took hold in the United States during the exact same era, and it was the opposite: a maximalist dreamland full of color, high concept-performances and videos, a plethora of performers and unrivaled choreography. If Top 40 in America wanted solo singers so soft every breath was caught on mic over a mid-tempo chorus, K-pop appeared to offer a genre-less alternative: constant stimulation, euphoria delivered in \u003ca href=\"https://www.rollingstone.com/music/music-features/bts-kpop-albums-bands-global-takeover-707139/\" target=\"_blank\" rel=\"noopener noreferrer\">eight to 10 melodies\u003c/a> and fantastical harmonies in a single track. (That is, K-pop \u003cem>idol music\u003c/em>— in the West, “K-pop” is frequently used synonymously with Korean idol music, pop with a high-production value and produced in a deliberate studio system, as it is in this piece.)\u003c/p>\n\u003cp>K-pop is music that is stuffed but never bloated; music that is fun and meant to elicit joy when listened to and seen (K-pop is designed to be enjoyed visually as much, if not more, than it is meant to be heard). And it is music that is now nearing total global ubiquity. Boy band BTS is the most popular group on the planet, bringing in billions to South Korea each year between \u003ca href=\"https://www.npr.org/2018/05/29/615079872/k-pop-hits-no-1-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 albums\u003c/a> (three of which hit that particular benchmark in \u003ca href=\"https://www.hollywoodreporter.com/features/bts-is-back-musics-billion-dollar-boy-band-takes-next-step-1244580\" target=\"_blank\" rel=\"noopener noreferrer\">less than a year\u003c/a>,) history-making \u003ca href=\"https://www.npr.org/sections/allsongs/2019/04/14/712797129/watch-bts-further-its-quest-for-world-domination-on-the-snl-stage\" target=\"_blank\" rel=\"noopener noreferrer\">late-night television performances\u003c/a> and music videos that double as \u003ca href=\"https://www.npr.org/2020/01/17/797240927/bts-drops-black-swan-and-a-lavishly-choreographed-art-film\" target=\"_blank\" rel=\"noopener noreferrer\">art films\u003c/a>. K-pop fans themselves have dominated headlines in and outside of the pop culture arena for their \u003ca href=\"https://www.npr.org/2020/07/01/886034124/when-the-stans-assemble-k-pop-protests-and-fan-activism\" target=\"_blank\" rel=\"noopener noreferrer\">recent political successes\u003c/a>: using their digital native understanding to overwhelm white supremacist hashtags, crashing President Trump’s Tulsa rally \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">attendance numbers\u003c/a> and police apps meant to solicit information about Black Lives Matter protesters, pressuring their Idols to take a stance and contributing \u003ca href=\"https://www.wbur.org/hereandnow/2020/06/08/bts-fans-black-lives-matter-donations\" target=\"_blank\" rel=\"noopener noreferrer\">millions in donations\u003c/a>. For those Anglophone audiences learning about K-pop for the first time, this particular music discovery probably feels like missing the boat on a voyage you didn’t know was taking off. How could the needle shift so quickly? K-pop is overwhelming.\u003c/p>\n\u003cp>And that’s understandable. In the history of popular music, American audiences have been hesitant to embrace music recorded in a different language, save for a few Spanish-language superstars. Artists from other cultures are expected to cross over—to translate their work, to white-wash themselves and their performances to sell to the United States, the world’s largest music market. For many, a dominant pop form that isn’t in English is inconceivable. And yet, here’s K-pop, music largely recorded in Korean, born in the early 1990s and now one of the most popular forms of music on the planet, enjoyed by multiple generations of listeners. The numbers \u003ca href=\"https://www.npr.org/sections/therecord/2017/09/29/554496829/a-record-breaking-week-begs-the-question-how-far-can-k-pop-go\" target=\"_blank\" rel=\"noopener noreferrer\">may be intimidating\u003c/a>, but getting into the music shouldn’t be.\u003c/p>\n\u003cp>Learning to experience K-pop means first ridding yourself of common misconceptions. The basics: K-pop is not a genre, nor do K-pop fans behave like a monolith. The term means “Korean pop,” but like “Latin pop,” the title is more of a geographic designation for the industry than a sonic one. An “idol system” for auditioning and creating pop talent, not unlike the mechanization of Berry Gordy’s Motown in the 1960s and ’70s, and financial support for the arts by the South Korean government is responsible for K-pop’s dominion, but the music’s current popularity in the United States is a relatively new phenomenon: born online, retweeted, streamed and shared ceaselessly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>K-pop music traverses genre with incredible ease—in one moment, taking cues from the dubstep drops that defined pop in the early 2010s, or Swedish hitmakers, or hip-hop, or R&B balladry, or new jack swing, or soul, or euro-pop, or Caribbean dancehall, or salsa and beyond—border-less eclecticism identifiable by the performers themselves, their seismic aesthetic judgments, and their multi-lingual singing. K-pop performers run the spectrum from girl groups and boy bands to soloists and rappers. The evolution of K-pop is defined by indistinct “generations” of the music, the parameters of which are frequently contested by fans and critics alike. Listening to K-pop is only one aspect of getting into industry, as well: The path to discovery is designed so that fans participate online, which means the most ardent supporters are vocal and engage in coordinated publicity efforts, such as streaming new music videos on an endless loop. That said, it is possible to get into K-pop by simply listening to it, and that’s what the below playlist hopes to accomplish.\u003c/p>\n\u003cp>Like any introduction, this should serve as a subjective primer—one curated to best satiate curious Western listeners and give them a skeletal foundation in which to build upon. In truth, the world of K-pop is expansive and exponentially evolving. It is not a matter of if you can find a K-pop artist whose work you’ll fall for, it’s when. Start digging below.\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *;\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/playlist/starter-kit-k-pop/pl.1d8c04dbe47448e5adf73a8d41f91369\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>FIRST GENERATION: The Origins of Idols\u003c/h3>\n\u003cp>\u003cstrong>Seo Taiji and Boys, “Nan Arayo (I Know)” (1992)\u003c/strong>\u003c/p>\n\u003cp>Most critics tend to agree that K-pop’s origin story begins on April 11, 1992, when the trio Seo Taiji and Boys performed its soon-to-become a hit “Nan Arayo (I Know)” on South Korea’s Munhwa Broadcasting Corporation. For many South Korean youths, the track was their first exposure to hip-hop and New Jack Swing (never mind the popularity of both genres in boy band history) and a welcome alternative to traditional styles of music, including “trot,” a form of Korean folk.\u003c/p>\n\u003cp>\u003cstrong>H.O.T., “Candy” (1996)\u003c/strong>\u003c/p>\n\u003cp>H.O.T. (aka. High-Five of Teenagers—consider them formative to the trend of naming your group with an initialism for easy comprehension in the global marketplace) is largely credited as the first idol group in K-pop history, meaning that its members were brought together by a company—in this case, Lee Soo-man, founder of SM Entertainment. “Candy” is bubblegum pop at its brightest, cute music no doubt constructed in the model of American boy bands and J-pop.\u003c/p>\n\u003cp>\u003cstrong>S.E.S., “I’m Your Girl” (1997)\u003c/strong>\u003c/p>\n\u003cp>The girl group S.E.S., also put together by Lee Soo-man, was initially positioned as the female counterpart to H.O.T., though its sound differed drastically as the group’s profile grew. On “I’m Your Girl,” the group bears a striking resemblance to TLC—it’s ’90s R&B-pop, to a tee.\u003c/p>\n\u003chr>\n\u003ch3>SECOND GENERATION: The Idol Industry Evolves\u003c/h3>\n\u003cp>\u003cstrong>Rain, “Rainism” (2008)\u003cbr>\n\u003c/strong>\u003cem>(This song is not currently available on streaming in the United States.)\u003c/em>\u003c/p>\n\u003cp>After training to debut in a boy band that never took off, Rain pursued a career as a soloist, eventually becoming the first K-pop star to break internationally. “Rainism” is his most successful single, with a sound not unsimilar to Usher and Justin Timberlake. It is especially noteworthy that many of the lyrics are in English.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IVBW7sI8IhY\u003c/p>\n\u003cp>\u003cstrong>Wonder Girls, “Nobody” (2008)\u003c/strong>\u003c/p>\n\u003cp>Girl group Wonder Girls’ retro concept proved to be super successful in 2008, the beginning of a time period routinely referred to as “the golden age of K-pop.” The quartet frequently sourced elements from vintage sounds, including Motown—the members embody the Supremes in the video for “Nobody,” the first K-pop song to ever chart on the \u003cem>Billboard \u003c/em>Hot 100.\u003c/p>\n\u003cp>\u003cstrong>SHINee, “Ring Ding Dong” (2009)\u003c/strong>\u003c/p>\n\u003cp>Boy band SHINee’s “Ring Ding Dong” encapsulates the genre-hybridity of golden age K-pop: it’s futuristic R&B, with percussion built on congas, Euro-pop production and heavily auto-tuned vocals.\u003c/p>\n\u003cp>\u003cstrong>Girls Generation, “Gee” (2009)\u003c/strong>\u003c/p>\n\u003cp>Consider Girls Generation’s “Gee” the framework in which all future PG-rated K-pop girl groups would follow: It’s sugar-y sweet, bouncy pop music all about love and crushing—and its earworm chorus made it almost instantaneously viral, the most valuable currency of all.\u003c/p>\n\u003cp>\u003cstrong>SE7EN ft. Lil’ Kim, “Girls” (2009)\u003c/strong>\u003c/p>\n\u003cp>It’s not just that K-pop, like all forms of popular music, is founded in Black music—as K-pop’s presence grew in America, \u003cem>BET\u003c/em> was one of its first supporters. Soloist SE7EN’s collaboration with American rapper Lil’ Kim, “Girls,” premiered on \u003cem>106 & Park\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>IU, “Good Day” (2010)\u003c/strong>\u003c/p>\n\u003cp>Not all of the biggest K-pop artists become the biggest K-pop artists in the U.S., and such is the case for IU—she is one of the most successful K-pop musicians in South Korea and “Good Day” is proof. Her signature single is as striking as the lead musical number in a beloved Disney classic, and just as orchestral.\u003c/p>\n\u003cp>\u003cstrong>Super Junior, “Mr. Simple” (2011)\u003c/strong>\u003c/p>\n\u003cp>Super Junior’s “Mr. Simple” is soul from Seoul—there’s a scat-like, dark jazz club element to song’s intro before it explodes in vivid, repetitive techno.\u003c/p>\n\u003cp>\u003cstrong>2NE1, “I Am The Best” (2011)\u003c/strong>\u003c/p>\n\u003cp>2NE1’s “I Am The Best” is Euro-pop excellence—an empowerment anthem for the club.\u003c/p>\n\u003cp>\u003cstrong>Psy, “Gangnam Style” (2012)\u003c/strong>\u003c/p>\n\u003cp>The virality of Psy’s “Gangnam Style,” and it’s easily mimicked horse-riding dance move, was the first K-pop song to make a major splash in the United States, but in the greater K-pop story, he’s an outlier. The song is ironic and subversive, a criticism of a wealthy neighborhood in Seoul and a larger commentary on inequality. The others on this list are sincere love odes constructed to attract the widest audience.\u003c/p>\n\u003cp>\u003cstrong>BoA, “Only One” (2012)\u003c/strong>\u003c/p>\n\u003cp>BoA is formative in the K-pop story—she sang in English long before having a few key phrases in the chorus became a norm, and on “Only One,” she tackled R&B breakup balladry with total expertise.\u003c/p>\n\u003cp>\u003cstrong>BIGBANG, “Fantastic Baby” (2012)\u003c/strong>\u003c/p>\n\u003cp>Before there was BTS, there was BIGBANG, the break-dancing boy band slated to take over the West. “Fantastic Baby” is the group’s biggest hit, a gargantuan EDM-hip-hop beat so popular it was covered in the hit show \u003cem>Glee.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>THIRD GENERATION: The Idol Industry Goes Transnational\u003c/h3>\n\u003cp>\u003cstrong>2PM, “My House” (2015)\u003c/strong>\u003c/p>\n\u003cp>Boy band 2PM’s “My House,” is seductive, romantic R&B that will charm even the most staunch genre purist.\u003c/p>\n\u003cp>\u003cstrong>GOT7, “Just Right” (2015)\u003c/strong>\u003c/p>\n\u003cp>Some may find GOT7’s child-like wonder on “Just Right” cheesy, but “twee-rap” might be a better categorization. The chorus, however, screams early One Direction.\u003c/p>\n\u003cp>\u003cstrong>EXO, “Monster” (2016)\u003c/strong>\u003c/p>\n\u003cp>The 12-member EXO offer a darker take on the electro-pop boy band formula on its single “Monster.”\u003c/p>\n\u003cp>\u003cstrong>Jennie, “Solo” (2018)\u003c/strong>\u003c/p>\n\u003cp>In K-pop, it isn’t uncommon for girl group and boy band members to pursue solo work outside of their collective duties—it allows them space to explore other creative avenues without breaking the band up, and doubles as a fan service for those listeners who prefer one member to the others (in K-pop, that member is your “bias”). Blackpink’s Jennie, and her solo single “Solo,” is the exemplar of a member “going solo,” as she sings, without diverting too much from the integrity of the group. This one is for fans of big pop anthems and old school hip-hop whistle.\u003c/p>\n\u003cp>\u003cstrong>April, “Oh My Mistake” (2018)\u003c/strong>\u003c/p>\n\u003cp>Girl group April’s “Oh My Mistake” is ’80s synthpop with shimmering production—it is impossible to hear this and not feel giddy.\u003c/p>\n\u003cp>\u003cstrong>Blackpink, “Kill This Love” (2019)\u003c/strong>\u003c/p>\n\u003cp>The biggest girl group on the planet is Blackpink, a K-pop quartet without a full-length LP under its belt. With singles as ferocious as the air horn-adorned stadium anthem “Kill This Love,” it’s easy to see why: the single marries military cadences with trap, emphasized with gargantuan synthesizers.\u003c/p>\n\u003cp>\u003cstrong>BTS ft. Halsey, “Boy With Luv” (2019)\u003c/strong>\u003c/p>\n\u003cp>Any number of BTS songs would be appropriate to include here—check out “No More Dream,” the group’s first single, to get a sense of their range. That song rallied against a rigid education system that places untenable pressure on young people in South Korea, while “Boy With Luv” is an earworm single featuring one of the greatest American popstars of the 21st century. It’s also one of BTS’s most irresistible singles, a roller rink disco number punctuated with an almost house-like bass drum.\u003c/p>\n\u003chr>\n\u003ch3>FOURTH GENERATION: K-pop Breaks Down Borders\u003c/h3>\n\u003cp>\u003cstrong>Ateez, “Say My Name” (2019)\u003c/strong>\u003c/p>\n\u003cp>The latest generation of K-pop superstars are no longer bound by borders—they can debut or train outside of South Korea and become just as, or even more successful in the West than they are back home. They also continue to expand upon K-pop’s constant musical experimentation. Eight-person boy band Ateez’s hit “Say My Name,” for example, is built around a pan flute, and main rapper Mingi, with his raspy tone so low it recalls Scandinavian post-punk more than any other vocalists on this list, sings the chorus. It is so distinctive, listeners will have no choice but to forgive them for giving their song the same title as a Destiny’s Child classic.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Maria Sherman is a senior staff writer at Jezebel and the author of the book \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/www.blackdogandleventhal.com/titles/maria-sherman/larger-than-life/9780762468904/__;!!Iwwt!EMvQr3pDltVlCrqBWHGfjWmhm1WDbhRq69rPBodMKtqVKusyFEs-G-5dylBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">Larger Than Life: A History of Boy Bands from NKOTB to BTS\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last half-decade of Western pop music has been dominated by whisper-singing: a deliberately dry, almost ASMR-like performance style popularized by the likes of major label “indie pop” artists Julia Michaels, Selena Gomez, Lana Del Rey and Billie Eilish. The sound is hushed and pacifying, a response to the chaos of the world, the millennial’s music equivalent to minimalistic interior design—why belt when you could soothe?\u003c/p>\n\u003cp>K-pop idol music, meanwhile, took hold in the United States during the exact same era, and it was the opposite: a maximalist dreamland full of color, high concept-performances and videos, a plethora of performers and unrivaled choreography. If Top 40 in America wanted solo singers so soft every breath was caught on mic over a mid-tempo chorus, K-pop appeared to offer a genre-less alternative: constant stimulation, euphoria delivered in \u003ca href=\"https://www.rollingstone.com/music/music-features/bts-kpop-albums-bands-global-takeover-707139/\" target=\"_blank\" rel=\"noopener noreferrer\">eight to 10 melodies\u003c/a> and fantastical harmonies in a single track. (That is, K-pop \u003cem>idol music\u003c/em>— in the West, “K-pop” is frequently used synonymously with Korean idol music, pop with a high-production value and produced in a deliberate studio system, as it is in this piece.)\u003c/p>\n\u003cp>K-pop is music that is stuffed but never bloated; music that is fun and meant to elicit joy when listened to and seen (K-pop is designed to be enjoyed visually as much, if not more, than it is meant to be heard). And it is music that is now nearing total global ubiquity. Boy band BTS is the most popular group on the planet, bringing in billions to South Korea each year between \u003ca href=\"https://www.npr.org/2018/05/29/615079872/k-pop-hits-no-1-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 albums\u003c/a> (three of which hit that particular benchmark in \u003ca href=\"https://www.hollywoodreporter.com/features/bts-is-back-musics-billion-dollar-boy-band-takes-next-step-1244580\" target=\"_blank\" rel=\"noopener noreferrer\">less than a year\u003c/a>,) history-making \u003ca href=\"https://www.npr.org/sections/allsongs/2019/04/14/712797129/watch-bts-further-its-quest-for-world-domination-on-the-snl-stage\" target=\"_blank\" rel=\"noopener noreferrer\">late-night television performances\u003c/a> and music videos that double as \u003ca href=\"https://www.npr.org/2020/01/17/797240927/bts-drops-black-swan-and-a-lavishly-choreographed-art-film\" target=\"_blank\" rel=\"noopener noreferrer\">art films\u003c/a>. K-pop fans themselves have dominated headlines in and outside of the pop culture arena for their \u003ca href=\"https://www.npr.org/2020/07/01/886034124/when-the-stans-assemble-k-pop-protests-and-fan-activism\" target=\"_blank\" rel=\"noopener noreferrer\">recent political successes\u003c/a>: using their digital native understanding to overwhelm white supremacist hashtags, crashing President Trump’s Tulsa rally \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">attendance numbers\u003c/a> and police apps meant to solicit information about Black Lives Matter protesters, pressuring their Idols to take a stance and contributing \u003ca href=\"https://www.wbur.org/hereandnow/2020/06/08/bts-fans-black-lives-matter-donations\" target=\"_blank\" rel=\"noopener noreferrer\">millions in donations\u003c/a>. For those Anglophone audiences learning about K-pop for the first time, this particular music discovery probably feels like missing the boat on a voyage you didn’t know was taking off. How could the needle shift so quickly? K-pop is overwhelming.\u003c/p>\n\u003cp>And that’s understandable. In the history of popular music, American audiences have been hesitant to embrace music recorded in a different language, save for a few Spanish-language superstars. Artists from other cultures are expected to cross over—to translate their work, to white-wash themselves and their performances to sell to the United States, the world’s largest music market. For many, a dominant pop form that isn’t in English is inconceivable. And yet, here’s K-pop, music largely recorded in Korean, born in the early 1990s and now one of the most popular forms of music on the planet, enjoyed by multiple generations of listeners. The numbers \u003ca href=\"https://www.npr.org/sections/therecord/2017/09/29/554496829/a-record-breaking-week-begs-the-question-how-far-can-k-pop-go\" target=\"_blank\" rel=\"noopener noreferrer\">may be intimidating\u003c/a>, but getting into the music shouldn’t be.\u003c/p>\n\u003cp>Learning to experience K-pop means first ridding yourself of common misconceptions. The basics: K-pop is not a genre, nor do K-pop fans behave like a monolith. The term means “Korean pop,” but like “Latin pop,” the title is more of a geographic designation for the industry than a sonic one. An “idol system” for auditioning and creating pop talent, not unlike the mechanization of Berry Gordy’s Motown in the 1960s and ’70s, and financial support for the arts by the South Korean government is responsible for K-pop’s dominion, but the music’s current popularity in the United States is a relatively new phenomenon: born online, retweeted, streamed and shared ceaselessly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>K-pop music traverses genre with incredible ease—in one moment, taking cues from the dubstep drops that defined pop in the early 2010s, or Swedish hitmakers, or hip-hop, or R&B balladry, or new jack swing, or soul, or euro-pop, or Caribbean dancehall, or salsa and beyond—border-less eclecticism identifiable by the performers themselves, their seismic aesthetic judgments, and their multi-lingual singing. K-pop performers run the spectrum from girl groups and boy bands to soloists and rappers. The evolution of K-pop is defined by indistinct “generations” of the music, the parameters of which are frequently contested by fans and critics alike. Listening to K-pop is only one aspect of getting into industry, as well: The path to discovery is designed so that fans participate online, which means the most ardent supporters are vocal and engage in coordinated publicity efforts, such as streaming new music videos on an endless loop. That said, it is possible to get into K-pop by simply listening to it, and that’s what the below playlist hopes to accomplish.\u003c/p>\n\u003cp>Like any introduction, this should serve as a subjective primer—one curated to best satiate curious Western listeners and give them a skeletal foundation in which to build upon. In truth, the world of K-pop is expansive and exponentially evolving. It is not a matter of if you can find a K-pop artist whose work you’ll fall for, it’s when. Start digging below.\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *;\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/playlist/starter-kit-k-pop/pl.1d8c04dbe47448e5adf73a8d41f91369\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>FIRST GENERATION: The Origins of Idols\u003c/h3>\n\u003cp>\u003cstrong>Seo Taiji and Boys, “Nan Arayo (I Know)” (1992)\u003c/strong>\u003c/p>\n\u003cp>Most critics tend to agree that K-pop’s origin story begins on April 11, 1992, when the trio Seo Taiji and Boys performed its soon-to-become a hit “Nan Arayo (I Know)” on South Korea’s Munhwa Broadcasting Corporation. For many South Korean youths, the track was their first exposure to hip-hop and New Jack Swing (never mind the popularity of both genres in boy band history) and a welcome alternative to traditional styles of music, including “trot,” a form of Korean folk.\u003c/p>\n\u003cp>\u003cstrong>H.O.T., “Candy” (1996)\u003c/strong>\u003c/p>\n\u003cp>H.O.T. (aka. High-Five of Teenagers—consider them formative to the trend of naming your group with an initialism for easy comprehension in the global marketplace) is largely credited as the first idol group in K-pop history, meaning that its members were brought together by a company—in this case, Lee Soo-man, founder of SM Entertainment. “Candy” is bubblegum pop at its brightest, cute music no doubt constructed in the model of American boy bands and J-pop.\u003c/p>\n\u003cp>\u003cstrong>S.E.S., “I’m Your Girl” (1997)\u003c/strong>\u003c/p>\n\u003cp>The girl group S.E.S., also put together by Lee Soo-man, was initially positioned as the female counterpart to H.O.T., though its sound differed drastically as the group’s profile grew. On “I’m Your Girl,” the group bears a striking resemblance to TLC—it’s ’90s R&B-pop, to a tee.\u003c/p>\n\u003chr>\n\u003ch3>SECOND GENERATION: The Idol Industry Evolves\u003c/h3>\n\u003cp>\u003cstrong>Rain, “Rainism” (2008)\u003cbr>\n\u003c/strong>\u003cem>(This song is not currently available on streaming in the United States.)\u003c/em>\u003c/p>\n\u003cp>After training to debut in a boy band that never took off, Rain pursued a career as a soloist, eventually becoming the first K-pop star to break internationally. “Rainism” is his most successful single, with a sound not unsimilar to Usher and Justin Timberlake. It is especially noteworthy that many of the lyrics are in English.\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/IVBW7sI8IhY'\n title='//www.youtube.com/embed/IVBW7sI8IhY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Wonder Girls, “Nobody” (2008)\u003c/strong>\u003c/p>\n\u003cp>Girl group Wonder Girls’ retro concept proved to be super successful in 2008, the beginning of a time period routinely referred to as “the golden age of K-pop.” The quartet frequently sourced elements from vintage sounds, including Motown—the members embody the Supremes in the video for “Nobody,” the first K-pop song to ever chart on the \u003cem>Billboard \u003c/em>Hot 100.\u003c/p>\n\u003cp>\u003cstrong>SHINee, “Ring Ding Dong” (2009)\u003c/strong>\u003c/p>\n\u003cp>Boy band SHINee’s “Ring Ding Dong” encapsulates the genre-hybridity of golden age K-pop: it’s futuristic R&B, with percussion built on congas, Euro-pop production and heavily auto-tuned vocals.\u003c/p>\n\u003cp>\u003cstrong>Girls Generation, “Gee” (2009)\u003c/strong>\u003c/p>\n\u003cp>Consider Girls Generation’s “Gee” the framework in which all future PG-rated K-pop girl groups would follow: It’s sugar-y sweet, bouncy pop music all about love and crushing—and its earworm chorus made it almost instantaneously viral, the most valuable currency of all.\u003c/p>\n\u003cp>\u003cstrong>SE7EN ft. Lil’ Kim, “Girls” (2009)\u003c/strong>\u003c/p>\n\u003cp>It’s not just that K-pop, like all forms of popular music, is founded in Black music—as K-pop’s presence grew in America, \u003cem>BET\u003c/em> was one of its first supporters. Soloist SE7EN’s collaboration with American rapper Lil’ Kim, “Girls,” premiered on \u003cem>106 & Park\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>IU, “Good Day” (2010)\u003c/strong>\u003c/p>\n\u003cp>Not all of the biggest K-pop artists become the biggest K-pop artists in the U.S., and such is the case for IU—she is one of the most successful K-pop musicians in South Korea and “Good Day” is proof. Her signature single is as striking as the lead musical number in a beloved Disney classic, and just as orchestral.\u003c/p>\n\u003cp>\u003cstrong>Super Junior, “Mr. Simple” (2011)\u003c/strong>\u003c/p>\n\u003cp>Super Junior’s “Mr. Simple” is soul from Seoul—there’s a scat-like, dark jazz club element to song’s intro before it explodes in vivid, repetitive techno.\u003c/p>\n\u003cp>\u003cstrong>2NE1, “I Am The Best” (2011)\u003c/strong>\u003c/p>\n\u003cp>2NE1’s “I Am The Best” is Euro-pop excellence—an empowerment anthem for the club.\u003c/p>\n\u003cp>\u003cstrong>Psy, “Gangnam Style” (2012)\u003c/strong>\u003c/p>\n\u003cp>The virality of Psy’s “Gangnam Style,” and it’s easily mimicked horse-riding dance move, was the first K-pop song to make a major splash in the United States, but in the greater K-pop story, he’s an outlier. The song is ironic and subversive, a criticism of a wealthy neighborhood in Seoul and a larger commentary on inequality. The others on this list are sincere love odes constructed to attract the widest audience.\u003c/p>\n\u003cp>\u003cstrong>BoA, “Only One” (2012)\u003c/strong>\u003c/p>\n\u003cp>BoA is formative in the K-pop story—she sang in English long before having a few key phrases in the chorus became a norm, and on “Only One,” she tackled R&B breakup balladry with total expertise.\u003c/p>\n\u003cp>\u003cstrong>BIGBANG, “Fantastic Baby” (2012)\u003c/strong>\u003c/p>\n\u003cp>Before there was BTS, there was BIGBANG, the break-dancing boy band slated to take over the West. “Fantastic Baby” is the group’s biggest hit, a gargantuan EDM-hip-hop beat so popular it was covered in the hit show \u003cem>Glee.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>THIRD GENERATION: The Idol Industry Goes Transnational\u003c/h3>\n\u003cp>\u003cstrong>2PM, “My House” (2015)\u003c/strong>\u003c/p>\n\u003cp>Boy band 2PM’s “My House,” is seductive, romantic R&B that will charm even the most staunch genre purist.\u003c/p>\n\u003cp>\u003cstrong>GOT7, “Just Right” (2015)\u003c/strong>\u003c/p>\n\u003cp>Some may find GOT7’s child-like wonder on “Just Right” cheesy, but “twee-rap” might be a better categorization. The chorus, however, screams early One Direction.\u003c/p>\n\u003cp>\u003cstrong>EXO, “Monster” (2016)\u003c/strong>\u003c/p>\n\u003cp>The 12-member EXO offer a darker take on the electro-pop boy band formula on its single “Monster.”\u003c/p>\n\u003cp>\u003cstrong>Jennie, “Solo” (2018)\u003c/strong>\u003c/p>\n\u003cp>In K-pop, it isn’t uncommon for girl group and boy band members to pursue solo work outside of their collective duties—it allows them space to explore other creative avenues without breaking the band up, and doubles as a fan service for those listeners who prefer one member to the others (in K-pop, that member is your “bias”). Blackpink’s Jennie, and her solo single “Solo,” is the exemplar of a member “going solo,” as she sings, without diverting too much from the integrity of the group. This one is for fans of big pop anthems and old school hip-hop whistle.\u003c/p>\n\u003cp>\u003cstrong>April, “Oh My Mistake” (2018)\u003c/strong>\u003c/p>\n\u003cp>Girl group April’s “Oh My Mistake” is ’80s synthpop with shimmering production—it is impossible to hear this and not feel giddy.\u003c/p>\n\u003cp>\u003cstrong>Blackpink, “Kill This Love” (2019)\u003c/strong>\u003c/p>\n\u003cp>The biggest girl group on the planet is Blackpink, a K-pop quartet without a full-length LP under its belt. With singles as ferocious as the air horn-adorned stadium anthem “Kill This Love,” it’s easy to see why: the single marries military cadences with trap, emphasized with gargantuan synthesizers.\u003c/p>\n\u003cp>\u003cstrong>BTS ft. Halsey, “Boy With Luv” (2019)\u003c/strong>\u003c/p>\n\u003cp>Any number of BTS songs would be appropriate to include here—check out “No More Dream,” the group’s first single, to get a sense of their range. That song rallied against a rigid education system that places untenable pressure on young people in South Korea, while “Boy With Luv” is an earworm single featuring one of the greatest American popstars of the 21st century. It’s also one of BTS’s most irresistible singles, a roller rink disco number punctuated with an almost house-like bass drum.\u003c/p>\n\u003chr>\n\u003ch3>FOURTH GENERATION: K-pop Breaks Down Borders\u003c/h3>\n\u003cp>\u003cstrong>Ateez, “Say My Name” (2019)\u003c/strong>\u003c/p>\n\u003cp>The latest generation of K-pop superstars are no longer bound by borders—they can debut or train outside of South Korea and become just as, or even more successful in the West than they are back home. They also continue to expand upon K-pop’s constant musical experimentation. Eight-person boy band Ateez’s hit “Say My Name,” for example, is built around a pan flute, and main rapper Mingi, with his raspy tone so low it recalls Scandinavian post-punk more than any other vocalists on this list, sings the chorus. It is so distinctive, listeners will have no choice but to forgive them for giving their song the same title as a Destiny’s Child classic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Maria Sherman is a senior staff writer at Jezebel and the author of the book \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/www.blackdogandleventhal.com/titles/maria-sherman/larger-than-life/9780762468904/__;!!Iwwt!EMvQr3pDltVlCrqBWHGfjWmhm1WDbhRq69rPBodMKtqVKusyFEs-G-5dylBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">Larger Than Life: A History of Boy Bands from NKOTB to BTS\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pNgAZVrf40\u003c/p>\n\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-pNgAZVrf40'\n title='//www.youtube.com/embed/-pNgAZVrf40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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