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"content": "\u003cp>“Could be a hit,” country artist \u003ca href=\"https://www.tiktok.com/@georgebirgeofficial?\" target=\"_blank\" rel=\"noopener noreferrer\">George Birge\u003c/a> says with a shrug and a smile at the end of a TikTok video from last year. He was stitching a video posted by fellow \u003ca href=\"https://www.tiktok.com/@rynnstar?\" target=\"_blank\" rel=\"noopener noreferrer\">TikToker Erynn Chambers\u003c/a>, in which she satirizes the difference in subject matter that men and women in mainstream country music typically sing about. Birge added a melody and a few more lyrics, and a coy tagline: “if this blows up ill [sic] finish the song and release it.”\u003c/p>\n\u003cp>Birge was right on both accounts: His TikTok did blow up, and the full version of the song, which he released in June, is currently a minor hit. It was one of the top 10 most added new singles for country radio on the day it was sent to stations last week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=afb-H8fqkJ4&t=48s\u003c/p>\n\u003cp>“Beer Beer, Truck Truck” is not the first song to spring from TikTok to the radio, but here’s how it all came together over the last 10 months.\u003c/p>\n\u003ch3>“Girls in tight jeans” vs. “I destroyed everything he loved—and then I killed him”\u003c/h3>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=JXAgv665J14\" target=\"_blank\" rel=\"noopener noreferrer\">Boys ‘Round Here\u003c/a>,” Blake Shelton sings about how he and his friends aren’t like your normal guys who listen to The Beatles or do the Dougie. Blake and his boys keep it country by drinking ice cold beers while “runnin’ them red dirt roads out, kicking up dust.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=WaSy8yy-mr8\" target=\"_blank\" rel=\"noopener noreferrer\">Before He Cheats\u003c/a>,” Carrie Underwood laments her partner’s infidelity using her writer’s pen, a set of keys and a Louisville Slugger in a passionate fit of property damage.\u003c/p>\n\u003cp>[aside postid='arts_13875953']Meanwhile, in “\u003ca href=\"https://www.youtube.com/watch?v=Mdh2p03cRfw\" target=\"_blank\" rel=\"noopener noreferrer\">Body Like a Backroad\u003c/a>,” Sam Hunt sings about how his partner has “hips like honey” and about the “way she fit in them blue jeans.”\u003c/p>\n\u003cp>And again in “\u003ca href=\"https://www.youtube.com/watch?v=IEPomqor2A8\" target=\"_blank\" rel=\"noopener noreferrer\">No Body, No Crime\u003c/a>,” Taylor Swift and HAIM tell the tale of a woman avenging her best friend’s murder at the hands of an unfaithful husband—and then destroying all the evidence.\u003c/p>\n\u003cp>“A lot of men’s country is ‘the beers’ and ‘the trucks’ and that kind of thing,” Erynn Chambers says. “And then women’s country is like revenge songs on their cheating husbands.”\u003c/p>\n\u003cp>Chambers, a music teacher with a popular TikTok account where she posts educational and social justice related content, decided to poke fun at this stereotype. In October 2020, she posted a video of herself depicting a male country artist, singing the lyrics “beer beer, truck truck, girls in tight jeans,” with the caption “men in country music,” above her head. As for her female country artist? Yeah, she killed her cheating husband.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rynnstar/video/6884621398111816966\" data-video-id=\"6884621398111816966\">\n\u003csection>\u003ca title=\"@rynnstar\" href=\"https://www.tiktok.com/@rynnstar\" target=\"_blank\" rel=\"noopener noreferrer\">@rynnstar\u003c/a>\u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#CountryMusic\u003c/a> \u003ca title=\"♬ original sound - Rynn\" href=\"https://www.tiktok.com/music/original-sound-6884621469750594310\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rynn\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>The video went viral; it currently has 1.8 million likes, over 67,000 shares, and 27,000-plus comments—many of which were polarized, either praising Chambers for her humor and cultural insight or criticizing her for what they thought was an unfair reduction of the genre.\u003c/p>\n\u003ch3>A self-issued songwriting challenge\u003c/h3>\n\u003cp>When country artist George Birge, one of the 5.6 million viewers, first saw the video, he was at a crossroads in his career. Until February of this year, Birge was one half of the country duo Waterloo Revival, but was unsatisfied with its level of success; at that point, he was having more luck writing for other artists and was considering ending his singing career altogether.\u003c/p>\n\u003cp>It was at a writing session with fellow country artist Clay Walker, one of his idols, when Birge first learned about TikTok as a tool to grow his platform.\u003c/p>\n\u003cp>“We had finished writing for the day and he was like, ‘Dude, you just need to get on Tiktok and put your songs on there,’ which was like the last thing I expected,” Birge says—but he ended up taking the advice.\u003c/p>\n\u003cp>[aside postid='arts_13870376']“As musicians, we go grind it out and play to 100 or 1,000 or a couple of thousand people a night,” he says. “But if you do something that catches fire on TikTok, you can get in front of a million people instantly, and so that kind of piqued my interest.”\u003c/p>\n\u003cp>Birge found Chambers’ video in the country music hashtag, one of the first places he went after he made his account.\u003c/p>\n\u003cp>“My first reaction was like, ‘Yeah, she makes a really good point,’ ” he says. “But my second reaction was kind of like, ‘OK, it’d be fun to take this as a challenge and see if I can write a legitimate song using her hook up at the top.’ ”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@georgebirgeofficial/video/6908404290574961926\" data-video-id=\"6908404290574961926\">\n\u003csection>\u003ca title=\"@georgebirgeofficial\" href=\"https://www.tiktok.com/@georgebirgeofficial\" target=\"_blank\" rel=\"noopener noreferrer\">@georgebirgeofficial\u003c/a>If y’all blow this up I may have to finish it and release it, should we write the whole thing @rynnstar 🔥 \u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#countrymusic\u003c/a> \u003ca title=\"country\" href=\"https://www.tiktok.com/tag/country\" target=\"_blank\" rel=\"noopener noreferrer\">#country\u003c/a> \u003ca title=\"originalsong\" href=\"https://www.tiktok.com/tag/originalsong\" target=\"_blank\" rel=\"noopener noreferrer\">#originalsong\u003c/a>\u003ca title=\"♬ original sound - George Birge\" href=\"https://www.tiktok.com/music/original-sound-6908404270417201926\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – George Birge\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>To Birge, Chambers’ TikTok parody poking fun at the genre his life revolves around had all the ingredients for a bonafide country hit.\u003c/p>\n\u003cp>“We always say that the best country songs are the ones that get stuck in your head, that are easy to remember, that you can sing back after one [listen],” he says. “And even though she is kind of doing it in jest—that ‘beer beer, truck truck’ hook she did off the top—I feel like that could be something that could burn in your brain and be a big country hook, so I kind of took it and ran with it.”\u003c/p>\n\u003cp>That same day, Birge wrote a melody for the chorus and added a few more lines. He posted a stitch of him singing the new version in December 2020, and it quickly took off. People made it clear they wanted to hear a full song.\u003c/p>\n\u003ch3>TikTok has not, in fact, killed the radio star\u003c/h3>\n\u003cp>In early January, Birge called his friend and producer, Ash Bowers, and asked him to come over and help him record the song.\u003c/p>\n\u003cp>“So we got on his computer and recorded a demo in like three hours,” Birge says. He posted another TikTok of himself playing the full version from his car speakers—\u003ca href=\"https://www.tiktok.com/@georgebirgeofficial/video/6912460114561649926\">that got 2.6 million views\u003c/a>—and that’s when “almost every record label in Nashville started calling me, asking to take meetings,” he says. Birge signed with RECORDS Nashville and had a studio version recorded by February.\u003c/p>\n\u003cp>[aside postid='arts_13866382']What emerged was “Beer Beer, Truck Truck,” in which Birge takes Chambers’ jesting chorus and turns it into a genuinely sweet ballad. With new lyrics about driving down dirt roads and spending summer nights staring at the stars, the song’s narrator tries to convince his lost love—who gave up her life in the country for the big city filled with bright lights and endless opportunity—that country life \u003cem>isn’t\u003c/em> all beers and trucks.\u003c/p>\n\u003cp>When he posted the initial TikTok, Birge says he had six followers. Now, he has just over 160,000. Likewise, Chambers’ account has ballooned to over 700,000 followers, with just over 70 million likes.\u003c/p>\n\u003cp>“I certainly didn’t think I was going to grow a big audience with it,” she says. As someone who grew up loving country music and just wanted to make a fun parody, she says her TikTok’s success “was never a thing that I was thinking was going to happen.” She never imagined that she’d have writing credits on a song in radio rotation and with over 4 million streams, either.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s really an honor and a privilege and a shock to see something that I came up with on the fly really connect with people and go out there like that,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Joke+TikTok+About+Country+Music+Stereotypes+Hit+The+Radio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Could be a hit,” country artist \u003ca href=\"https://www.tiktok.com/@georgebirgeofficial?\" target=\"_blank\" rel=\"noopener noreferrer\">George Birge\u003c/a> says with a shrug and a smile at the end of a TikTok video from last year. He was stitching a video posted by fellow \u003ca href=\"https://www.tiktok.com/@rynnstar?\" target=\"_blank\" rel=\"noopener noreferrer\">TikToker Erynn Chambers\u003c/a>, in which she satirizes the difference in subject matter that men and women in mainstream country music typically sing about. Birge added a melody and a few more lyrics, and a coy tagline: “if this blows up ill [sic] finish the song and release it.”\u003c/p>\n\u003cp>Birge was right on both accounts: His TikTok did blow up, and the full version of the song, which he released in June, is currently a minor hit. It was one of the top 10 most added new singles for country radio on the day it was sent to stations last week.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/afb-H8fqkJ4'\n title='//www.youtube.com/embed/afb-H8fqkJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Beer Beer, Truck Truck” is not the first song to spring from TikTok to the radio, but here’s how it all came together over the last 10 months.\u003c/p>\n\u003ch3>“Girls in tight jeans” vs. “I destroyed everything he loved—and then I killed him”\u003c/h3>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=JXAgv665J14\" target=\"_blank\" rel=\"noopener noreferrer\">Boys ‘Round Here\u003c/a>,” Blake Shelton sings about how he and his friends aren’t like your normal guys who listen to The Beatles or do the Dougie. Blake and his boys keep it country by drinking ice cold beers while “runnin’ them red dirt roads out, kicking up dust.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “\u003ca href=\"https://www.youtube.com/watch?v=WaSy8yy-mr8\" target=\"_blank\" rel=\"noopener noreferrer\">Before He Cheats\u003c/a>,” Carrie Underwood laments her partner’s infidelity using her writer’s pen, a set of keys and a Louisville Slugger in a passionate fit of property damage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, in “\u003ca href=\"https://www.youtube.com/watch?v=Mdh2p03cRfw\" target=\"_blank\" rel=\"noopener noreferrer\">Body Like a Backroad\u003c/a>,” Sam Hunt sings about how his partner has “hips like honey” and about the “way she fit in them blue jeans.”\u003c/p>\n\u003cp>And again in “\u003ca href=\"https://www.youtube.com/watch?v=IEPomqor2A8\" target=\"_blank\" rel=\"noopener noreferrer\">No Body, No Crime\u003c/a>,” Taylor Swift and HAIM tell the tale of a woman avenging her best friend’s murder at the hands of an unfaithful husband—and then destroying all the evidence.\u003c/p>\n\u003cp>“A lot of men’s country is ‘the beers’ and ‘the trucks’ and that kind of thing,” Erynn Chambers says. “And then women’s country is like revenge songs on their cheating husbands.”\u003c/p>\n\u003cp>Chambers, a music teacher with a popular TikTok account where she posts educational and social justice related content, decided to poke fun at this stereotype. In October 2020, she posted a video of herself depicting a male country artist, singing the lyrics “beer beer, truck truck, girls in tight jeans,” with the caption “men in country music,” above her head. As for her female country artist? Yeah, she killed her cheating husband.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rynnstar/video/6884621398111816966\" data-video-id=\"6884621398111816966\">\n\u003csection>\u003ca title=\"@rynnstar\" href=\"https://www.tiktok.com/@rynnstar\" target=\"_blank\" rel=\"noopener noreferrer\">@rynnstar\u003c/a>\u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#CountryMusic\u003c/a> \u003ca title=\"♬ original sound - Rynn\" href=\"https://www.tiktok.com/music/original-sound-6884621469750594310\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rynn\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The video went viral; it currently has 1.8 million likes, over 67,000 shares, and 27,000-plus comments—many of which were polarized, either praising Chambers for her humor and cultural insight or criticizing her for what they thought was an unfair reduction of the genre.\u003c/p>\n\u003ch3>A self-issued songwriting challenge\u003c/h3>\n\u003cp>When country artist George Birge, one of the 5.6 million viewers, first saw the video, he was at a crossroads in his career. Until February of this year, Birge was one half of the country duo Waterloo Revival, but was unsatisfied with its level of success; at that point, he was having more luck writing for other artists and was considering ending his singing career altogether.\u003c/p>\n\u003cp>It was at a writing session with fellow country artist Clay Walker, one of his idols, when Birge first learned about TikTok as a tool to grow his platform.\u003c/p>\n\u003cp>“We had finished writing for the day and he was like, ‘Dude, you just need to get on Tiktok and put your songs on there,’ which was like the last thing I expected,” Birge says—but he ended up taking the advice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As musicians, we go grind it out and play to 100 or 1,000 or a couple of thousand people a night,” he says. “But if you do something that catches fire on TikTok, you can get in front of a million people instantly, and so that kind of piqued my interest.”\u003c/p>\n\u003cp>Birge found Chambers’ video in the country music hashtag, one of the first places he went after he made his account.\u003c/p>\n\u003cp>“My first reaction was like, ‘Yeah, she makes a really good point,’ ” he says. “But my second reaction was kind of like, ‘OK, it’d be fun to take this as a challenge and see if I can write a legitimate song using her hook up at the top.’ ”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@georgebirgeofficial/video/6908404290574961926\" data-video-id=\"6908404290574961926\">\n\u003csection>\u003ca title=\"@georgebirgeofficial\" href=\"https://www.tiktok.com/@georgebirgeofficial\" target=\"_blank\" rel=\"noopener noreferrer\">@georgebirgeofficial\u003c/a>If y’all blow this up I may have to finish it and release it, should we write the whole thing @rynnstar 🔥 \u003ca title=\"countrymusic\" href=\"https://www.tiktok.com/tag/countrymusic\" target=\"_blank\" rel=\"noopener noreferrer\">#countrymusic\u003c/a> \u003ca title=\"country\" href=\"https://www.tiktok.com/tag/country\" target=\"_blank\" rel=\"noopener noreferrer\">#country\u003c/a> \u003ca title=\"originalsong\" href=\"https://www.tiktok.com/tag/originalsong\" target=\"_blank\" rel=\"noopener noreferrer\">#originalsong\u003c/a>\u003ca title=\"♬ original sound - George Birge\" href=\"https://www.tiktok.com/music/original-sound-6908404270417201926\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – George Birge\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Birge, Chambers’ TikTok parody poking fun at the genre his life revolves around had all the ingredients for a bonafide country hit.\u003c/p>\n\u003cp>“We always say that the best country songs are the ones that get stuck in your head, that are easy to remember, that you can sing back after one [listen],” he says. “And even though she is kind of doing it in jest—that ‘beer beer, truck truck’ hook she did off the top—I feel like that could be something that could burn in your brain and be a big country hook, so I kind of took it and ran with it.”\u003c/p>\n\u003cp>That same day, Birge wrote a melody for the chorus and added a few more lines. He posted a stitch of him singing the new version in December 2020, and it quickly took off. People made it clear they wanted to hear a full song.\u003c/p>\n\u003ch3>TikTok has not, in fact, killed the radio star\u003c/h3>\n\u003cp>In early January, Birge called his friend and producer, Ash Bowers, and asked him to come over and help him record the song.\u003c/p>\n\u003cp>“So we got on his computer and recorded a demo in like three hours,” Birge says. He posted another TikTok of himself playing the full version from his car speakers—\u003ca href=\"https://www.tiktok.com/@georgebirgeofficial/video/6912460114561649926\">that got 2.6 million views\u003c/a>—and that’s when “almost every record label in Nashville started calling me, asking to take meetings,” he says. Birge signed with RECORDS Nashville and had a studio version recorded by February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What emerged was “Beer Beer, Truck Truck,” in which Birge takes Chambers’ jesting chorus and turns it into a genuinely sweet ballad. With new lyrics about driving down dirt roads and spending summer nights staring at the stars, the song’s narrator tries to convince his lost love—who gave up her life in the country for the big city filled with bright lights and endless opportunity—that country life \u003cem>isn’t\u003c/em> all beers and trucks.\u003c/p>\n\u003cp>When he posted the initial TikTok, Birge says he had six followers. Now, he has just over 160,000. Likewise, Chambers’ account has ballooned to over 700,000 followers, with just over 70 million likes.\u003c/p>\n\u003cp>“I certainly didn’t think I was going to grow a big audience with it,” she says. As someone who grew up loving country music and just wanted to make a fun parody, she says her TikTok’s success “was never a thing that I was thinking was going to happen.” She never imagined that she’d have writing credits on a song in radio rotation and with over 4 million streams, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s really an honor and a privilege and a shock to see something that I came up with on the fly really connect with people and go out there like that,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Joke+TikTok+About+Country+Music+Stereotypes+Hit+The+Radio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's Film Critic Explores Why the Harrowing Afghanistan Images May Feel Familiar",
"headTitle": "NPR’s Film Critic Explores Why the Harrowing Afghanistan Images May Feel Familiar | KQED",
"content": "\u003cp>Looking at the\u003ca href=\"https://www.npr.org/2021/08/16/1028090002/afghanistan-airport-evacuation-taliban\" target=\"_blank\" rel=\"noopener noreferrer\"> newscast images\u003c/a> this week of Afghans \u003ca href=\"http://npr.org/2021/08/17/1028564790/u-s-is-reviewing-the-deaths-of-people-who-may-have-fallen-from-a-plane-leaving-k\" target=\"_blank\" rel=\"noopener noreferrer\">desperate to flee\u003c/a> the Taliban, I’ve been struck again and again by the feeling that the horrors I’m watching in real time are somehow familiar.\u003c/p>\n\u003cp>A throwaway line in a newspaper article cued me as to why. In a report on Biden administration figures who had urged caution in drawing down U.S. forces, Secretary of Defense Lloyd Austin III, was quoted as having told the President, \u003ca href=\"https://www.washingtonpost.com/entertainment/afghanistan-movies-hornaday/2021/08/17/5215eaaa-feb2-11eb-a664-4f6de3e17ff0_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">“we’ve seen this movie before.”\u003c/a>\u003c/p>\n\u003cp>[aside postid='news_11885170']And in several senses, that’s exactly right. Reasonable people may disagree about which movie, but we have all seen it. The recently confirmed Secretary of Defense clearly meant the phrase in a metaphorical sense, but America’s military adventures have been chronicled extensively enough that there’s some truth to the assertion even as fact.\u003c/p>\n\u003ch3>The haunted gaze of children who’d known only war\u003c/h3>\n\u003cp>Documentaries from the black-site interrogation expose \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18212203\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Taxi to the Dark Side, \u003c/em>\u003c/a>to\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128081316\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Restrepo, \u003c/em>\u003c/a>which chronicled the tragic human cost of securing an Afghan valley that would be given-up just months after U.S. soldiers left, had offered glimpses of everyday life in the country. Wary villagers, the haunted gaze of children who’d only known war, battle-scarred buildings—all so commonplace as to seem almost unremarkable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eLMaPOuEA4Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://www.npr.org/2012/12/19/166896991/shedding-grim-light-on-a-dark-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zero Dark Thirty\u003c/em>, \u003c/a>when Kathryn Bigelow recreated the mission that struck across the Afghan border into Pakistan to take out Osama Bin Laden, her portrait of the society in which the Americans were operating felt as authentic as news footage, and flash-edited and scored with a pounding soundtrack, arguably packed more punch.\u003c/p>\n\u003ch3>‘A place of warring tribes’\u003c/h3>\n\u003cp>This sort of verisimilitude is a relatively recent development, but it augments an already pervasive and unflattering portrait of the region. For roughly half a century Hollywood has used Afghans as background figures for fictional stories in which outsiders consistently underestimate their grit and determination. Afghanistan is “a place of warring tribes,” as Michael Caine’s con-man put it in \u003cem>The Man Who Would Be King\u003c/em>, “which is to say a land of opportunity for such as we.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W6Qf98Wa6VY\u003c/p>\n\u003cp>That 1975 John Huston epic was based on a story Rudyard Kipling had written in 1888, between unsuccessful second and third(!) Anglo-Afghan wars. In telling the story of two rogue ex-soldiers (Caine, and Sean Connery) who hope to exploit what they perceive as the ignorance of the locals, it mocks the racism, misjudgments and false premises that gave Britain’s empire-building in the region such a shaky foundation.\u003c/p>\n\u003cp>The bounders played by Caine and Connery are undeterred even when told by Christopher Plummer’s Kipling (the film gives a name to the story’s unidentifed narrator) that no outsider has survived there “since Alexander the Great, King of Greece about 300 years before Christ.” Their response is dismissive. “If a Greek can do it, we can do it.” Their story didn’t end any better than it did for the Brits.\u003c/p>\n\u003cp>The Soviet attempt at nation-building also ended badly—so badly that it became a Hollywood plot point even at a time when most of the world wasn’t paying attention.\u003c/p>\n\u003ch3>James Bond, John Rambo, and the graveyard of empires\u003c/h3>\n\u003cp>In 1987, \u003cem>The Living Daylights \u003c/em>spent much of its running time shuttling Timothy Dalton’s 007 between Russia and Afghanistan to disrupt a deal between the Soviet military, opium-growing mujahideen and arms dealers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fZ5PvhSFkQ0\u003c/p>\n\u003cp>And a year later, Hollywood’s most famous mercenary reluctantly paid a visit to the country in \u003cem>Rambo III. \u003c/em>He was on a mission to rescue his pal, Col. Sam Trautman (Richard Crenna), who was being held in a Soviet camp high in the Afghan mountains mostly so he could spout exposition about Afghanistan’s reputation as “the graveyard of empires.”\u003c/p>\n\u003cp>“Every day,” he tells his Soviet captors, “your war machines lose ground to a bunch of poorly armed, poorly equipped freedom fighters. If you’d studied your history, you’d know that these people have never given up to anyone. They’d rather die than be slaves to an invading army. You can’t defeat a people like that. We tried. We already had our Vietnam.”\u003c/p>\n\u003cp>Sylvester Stallone then set in motion a routing of the Soviet Army that would require eight more years of pitched battles by mujahideen that \u003cem>Rambo III\u003c/em>‘s end crawl termed “the gallant Afghan people.”\u003c/p>\n\u003cp>A decade and a half later, well after the Taliban’s first takeover and al-Qaida’s Sept. 11 attacks, Afghanistan was finally treated more seriously by filmmakers, including by Afghan director Siddiq Barmak. He used what was reported to be the only 35mm camera in all of Afghanistan to tell the story of a 12-year-old girl who, under Taliban rule must pretend to be a boy to support her widowed mother and family. The film was called \u003cem>Osama, \u003c/em>the name she took as a boy, and it won the 2003 Golden Globe for Best Foreign Language Film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=54sKYNvd3CY\u003c/p>\n\u003cp>It took a few years after Sept. 11 before the makers of commercial American movies felt comfortable dealing with the country on screen, and even then, they concentrated initially on the miscalculations that got us involved there during the Soviet era. Mike Nichols’ 2007 satire \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17525023\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Charlie Wilson’s War\u003c/em> \u003c/a>arched an eyebrow and enlisted Tom Hanks, Julia Roberts, and Philip Seymour Hoffman to tell the story of how American intelligence agencies—operating on the mistaken theory that the enemy of our enemy is our friend—made the decision to arm the nation’s so-called “freedom fighters.” A flurry of documentaries then looked at the experience of troops on the ground, of families back home, of Afghan culture disrupted or compromised.\u003c/p>\n\u003ch3>Panic, desperation and echoes of other conflicts\u003c/h3>\n\u003cp>At some point, these tales bleed into ones from other conflicts. The Persian Gulf war as depicted in \u003cem>American Sniper \u003c/em>or \u003cem>The Hurt Locker\u003c/em>; Somalia’s failed helicopter rescue in \u003cem>Black Hawk Down. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13901335']And looming over all of them, the chaotic scene from Vietnam that President Biden was so adamant about not repeating in Kabul: helicopters lifting off the roof of the American embassy in Saigon as U.S. involvement drew to a close in April 1975—a moment seared into a generation’s memory by news footage as vivid as anything Hollywood could have devised.\u003c/p>\n\u003cp>Footage from Kabul’s International Airport, of\u003ca href=\"https://www.cnn.com/videos/world/2021/08/16/kabul-clinging-to-airplane-taking-off-tarmac-afghanistan-ward-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\"> Afghans clinging desperately to the fuselage of a U.S. Air Force C-17 transport plane\u003c/a> as it moves down the takeoff runway has that quality, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Panic, sacrifice, desperation—we have seen it before. Sadly, it wasn’t a movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Our+Film+Critic+Explores+Why+The+Harrowing+Afghanistan+Images+May+Feel+Familiar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at the\u003ca href=\"https://www.npr.org/2021/08/16/1028090002/afghanistan-airport-evacuation-taliban\" target=\"_blank\" rel=\"noopener noreferrer\"> newscast images\u003c/a> this week of Afghans \u003ca href=\"http://npr.org/2021/08/17/1028564790/u-s-is-reviewing-the-deaths-of-people-who-may-have-fallen-from-a-plane-leaving-k\" target=\"_blank\" rel=\"noopener noreferrer\">desperate to flee\u003c/a> the Taliban, I’ve been struck again and again by the feeling that the horrors I’m watching in real time are somehow familiar.\u003c/p>\n\u003cp>A throwaway line in a newspaper article cued me as to why. In a report on Biden administration figures who had urged caution in drawing down U.S. forces, Secretary of Defense Lloyd Austin III, was quoted as having told the President, \u003ca href=\"https://www.washingtonpost.com/entertainment/afghanistan-movies-hornaday/2021/08/17/5215eaaa-feb2-11eb-a664-4f6de3e17ff0_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">“we’ve seen this movie before.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in several senses, that’s exactly right. Reasonable people may disagree about which movie, but we have all seen it. The recently confirmed Secretary of Defense clearly meant the phrase in a metaphorical sense, but America’s military adventures have been chronicled extensively enough that there’s some truth to the assertion even as fact.\u003c/p>\n\u003ch3>The haunted gaze of children who’d known only war\u003c/h3>\n\u003cp>Documentaries from the black-site interrogation expose \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18212203\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Taxi to the Dark Side, \u003c/em>\u003c/a>to\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128081316\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Restrepo, \u003c/em>\u003c/a>which chronicled the tragic human cost of securing an Afghan valley that would be given-up just months after U.S. soldiers left, had offered glimpses of everyday life in the country. Wary villagers, the haunted gaze of children who’d only known war, battle-scarred buildings—all so commonplace as to seem almost unremarkable.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eLMaPOuEA4Q'\n title='//www.youtube.com/embed/eLMaPOuEA4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.npr.org/2012/12/19/166896991/shedding-grim-light-on-a-dark-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zero Dark Thirty\u003c/em>, \u003c/a>when Kathryn Bigelow recreated the mission that struck across the Afghan border into Pakistan to take out Osama Bin Laden, her portrait of the society in which the Americans were operating felt as authentic as news footage, and flash-edited and scored with a pounding soundtrack, arguably packed more punch.\u003c/p>\n\u003ch3>‘A place of warring tribes’\u003c/h3>\n\u003cp>This sort of verisimilitude is a relatively recent development, but it augments an already pervasive and unflattering portrait of the region. For roughly half a century Hollywood has used Afghans as background figures for fictional stories in which outsiders consistently underestimate their grit and determination. Afghanistan is “a place of warring tribes,” as Michael Caine’s con-man put it in \u003cem>The Man Who Would Be King\u003c/em>, “which is to say a land of opportunity for such as we.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W6Qf98Wa6VY'\n title='//www.youtube.com/embed/W6Qf98Wa6VY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That 1975 John Huston epic was based on a story Rudyard Kipling had written in 1888, between unsuccessful second and third(!) Anglo-Afghan wars. In telling the story of two rogue ex-soldiers (Caine, and Sean Connery) who hope to exploit what they perceive as the ignorance of the locals, it mocks the racism, misjudgments and false premises that gave Britain’s empire-building in the region such a shaky foundation.\u003c/p>\n\u003cp>The bounders played by Caine and Connery are undeterred even when told by Christopher Plummer’s Kipling (the film gives a name to the story’s unidentifed narrator) that no outsider has survived there “since Alexander the Great, King of Greece about 300 years before Christ.” Their response is dismissive. “If a Greek can do it, we can do it.” Their story didn’t end any better than it did for the Brits.\u003c/p>\n\u003cp>The Soviet attempt at nation-building also ended badly—so badly that it became a Hollywood plot point even at a time when most of the world wasn’t paying attention.\u003c/p>\n\u003ch3>James Bond, John Rambo, and the graveyard of empires\u003c/h3>\n\u003cp>In 1987, \u003cem>The Living Daylights \u003c/em>spent much of its running time shuttling Timothy Dalton’s 007 between Russia and Afghanistan to disrupt a deal between the Soviet military, opium-growing mujahideen and arms dealers.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fZ5PvhSFkQ0'\n title='//www.youtube.com/embed/fZ5PvhSFkQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And a year later, Hollywood’s most famous mercenary reluctantly paid a visit to the country in \u003cem>Rambo III. \u003c/em>He was on a mission to rescue his pal, Col. Sam Trautman (Richard Crenna), who was being held in a Soviet camp high in the Afghan mountains mostly so he could spout exposition about Afghanistan’s reputation as “the graveyard of empires.”\u003c/p>\n\u003cp>“Every day,” he tells his Soviet captors, “your war machines lose ground to a bunch of poorly armed, poorly equipped freedom fighters. If you’d studied your history, you’d know that these people have never given up to anyone. They’d rather die than be slaves to an invading army. You can’t defeat a people like that. We tried. We already had our Vietnam.”\u003c/p>\n\u003cp>Sylvester Stallone then set in motion a routing of the Soviet Army that would require eight more years of pitched battles by mujahideen that \u003cem>Rambo III\u003c/em>‘s end crawl termed “the gallant Afghan people.”\u003c/p>\n\u003cp>A decade and a half later, well after the Taliban’s first takeover and al-Qaida’s Sept. 11 attacks, Afghanistan was finally treated more seriously by filmmakers, including by Afghan director Siddiq Barmak. He used what was reported to be the only 35mm camera in all of Afghanistan to tell the story of a 12-year-old girl who, under Taliban rule must pretend to be a boy to support her widowed mother and family. The film was called \u003cem>Osama, \u003c/em>the name she took as a boy, and it won the 2003 Golden Globe for Best Foreign Language Film.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/54sKYNvd3CY'\n title='//www.youtube.com/embed/54sKYNvd3CY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It took a few years after Sept. 11 before the makers of commercial American movies felt comfortable dealing with the country on screen, and even then, they concentrated initially on the miscalculations that got us involved there during the Soviet era. Mike Nichols’ 2007 satire \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17525023\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Charlie Wilson’s War\u003c/em> \u003c/a>arched an eyebrow and enlisted Tom Hanks, Julia Roberts, and Philip Seymour Hoffman to tell the story of how American intelligence agencies—operating on the mistaken theory that the enemy of our enemy is our friend—made the decision to arm the nation’s so-called “freedom fighters.” A flurry of documentaries then looked at the experience of troops on the ground, of families back home, of Afghan culture disrupted or compromised.\u003c/p>\n\u003ch3>Panic, desperation and echoes of other conflicts\u003c/h3>\n\u003cp>At some point, these tales bleed into ones from other conflicts. The Persian Gulf war as depicted in \u003cem>American Sniper \u003c/em>or \u003cem>The Hurt Locker\u003c/em>; Somalia’s failed helicopter rescue in \u003cem>Black Hawk Down. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And looming over all of them, the chaotic scene from Vietnam that President Biden was so adamant about not repeating in Kabul: helicopters lifting off the roof of the American embassy in Saigon as U.S. involvement drew to a close in April 1975—a moment seared into a generation’s memory by news footage as vivid as anything Hollywood could have devised.\u003c/p>\n\u003cp>Footage from Kabul’s International Airport, of\u003ca href=\"https://www.cnn.com/videos/world/2021/08/16/kabul-clinging-to-airplane-taking-off-tarmac-afghanistan-ward-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\"> Afghans clinging desperately to the fuselage of a U.S. Air Force C-17 transport plane\u003c/a> as it moves down the takeoff runway has that quality, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Panic, sacrifice, desperation—we have seen it before. Sadly, it wasn’t a movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Our+Film+Critic+Explores+Why+The+Harrowing+Afghanistan+Images+May+Feel+Familiar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Yik Yak, the Anonymous App that Tested Free Speech, is Back",
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"content": "\u003cp>After a four-year break, Yik Yak, the once-popular anonymous messaging app that was blamed for \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2015/07/13/422620195/on-college-campuses-suicide-intervention-via-anonymous-app\" target=\"_blank\" rel=\"noopener noreferrer\">cyberbullying \u003c/a>and \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/01/23/463197593/yik-yak-tests-universities-defense-of-free-speech\" target=\"_blank\" rel=\"noopener noreferrer\">hate speech\u003c/a>, is back. This time, the new owners are promising to take a stronger stance against abuse.\u003c/p>\n\u003cp>The new owners of the company purchased the rights to redevelop the location-based app from its original maker in February, calling it “the same Yik Yak experience millions knew and loved.”\u003c/p>\n\u003cp>“We’re bringing Yik Yak back because we believe the global community deserves a place to be authentic, a place to be equal, and a place to connect with people nearby,” the new owners said on the \u003ca href=\"https://yikyak.com/the-yak-is-back\" target=\"_blank\" rel=\"noopener noreferrer\">company’s website on Monday.\u003c/a>\u003c/p>\n\u003ch3>Yik Yak was popular on campus\u003c/h3>\n\u003cp>Launched in 2013, Yik Yak swept the nation as it became popular across college campuses as well as middle schools and high schools.\u003c/p>\n\u003cp>The app allows users to post messages anonymously on its platform within a 5-mile radius of their location. The messages could be up-voted or down-voted by users.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the height of its popularity, the company raised $73 million and was once valued at around $400 million in 2014, according to \u003ca href=\"https://techcrunch.com/2021/08/16/yik-yak-is-back/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch.\u003c/a>\u003c/p>\n\u003cp>In April 2017, the company announced the app would be shutting down following a decline in its engagement from users—by the end of 2016, \u003ca href=\"https://techcrunch.com/2017/04/28/yik-yak-shuts-down-after-square-paid-1-million-for-its-engineers/\" target=\"_blank\" rel=\"noopener noreferrer\">user downloads had dropped 76%\u003c/a> in comparison to 2015.\u003c/p>\n\u003ch3>The new company takes a strong stance against hate speech and bullying\u003c/h3>\n\u003cp>Before shutting down in 2017, Yik Yak was the subject of hate speech and cyberbullying across high school and college campuses.\u003c/p>\n\u003cp>But with the newly launched app, owners say they’re committed to taking a strong stance against threats and other abuse.\u003c/p>\n\u003cp>[aside postid='arts_13901062']“On the new Yik Yak, it’s against the \u003ca href=\"https://yikyak.com/community-guardrails.html\" target=\"_blank\" rel=\"noopener noreferrer\">Community Guardrails\u003c/a> to post bullying messages or use hate speech, make threats, or share anyone’s private information,” the company says on its website.\u003c/p>\n\u003cp>It says if a user bullies another person, uses hate speech, makes a threat, or in any way seriously violates the company’s policies, they could be immediately banned from Yik Yak.\u003c/p>\n\u003cp>“We’re committed to making Yik Yak a fun place free of bullying, threats, and all sort of negativity,” the company said.\u003c/p>\n\u003cp>The app’s return drew mixed responses on Twitter, with some people worried that it would prompt more \u003ca href=\"https://twitter.com/artpopstan420/status/1427335140334719046?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">“toxicity in the world”\u003c/a> and others joking about being able to \u003ca href=\"https://twitter.com/victoriagraupp/status/1427311018066255883?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">complain anonymously about college life\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/artpopstan420/status/1427335140334719046\u003c/p>\n\u003cp>https://twitter.com/victoriagraupp/status/1427311018066255883\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Yik Yak is currently only available to iOS users to download in the U.S., but the company says it’s planning to expand to more countries and devices in the near future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yik+Yak%2C+The+Anonymous+App+That+Tested+Free+Speech%2C+Is+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a four-year break, Yik Yak, the once-popular anonymous messaging app that was blamed for \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2015/07/13/422620195/on-college-campuses-suicide-intervention-via-anonymous-app\" target=\"_blank\" rel=\"noopener noreferrer\">cyberbullying \u003c/a>and \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/01/23/463197593/yik-yak-tests-universities-defense-of-free-speech\" target=\"_blank\" rel=\"noopener noreferrer\">hate speech\u003c/a>, is back. This time, the new owners are promising to take a stronger stance against abuse.\u003c/p>\n\u003cp>The new owners of the company purchased the rights to redevelop the location-based app from its original maker in February, calling it “the same Yik Yak experience millions knew and loved.”\u003c/p>\n\u003cp>“We’re bringing Yik Yak back because we believe the global community deserves a place to be authentic, a place to be equal, and a place to connect with people nearby,” the new owners said on the \u003ca href=\"https://yikyak.com/the-yak-is-back\" target=\"_blank\" rel=\"noopener noreferrer\">company’s website on Monday.\u003c/a>\u003c/p>\n\u003ch3>Yik Yak was popular on campus\u003c/h3>\n\u003cp>Launched in 2013, Yik Yak swept the nation as it became popular across college campuses as well as middle schools and high schools.\u003c/p>\n\u003cp>The app allows users to post messages anonymously on its platform within a 5-mile radius of their location. The messages could be up-voted or down-voted by users.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the height of its popularity, the company raised $73 million and was once valued at around $400 million in 2014, according to \u003ca href=\"https://techcrunch.com/2021/08/16/yik-yak-is-back/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch.\u003c/a>\u003c/p>\n\u003cp>In April 2017, the company announced the app would be shutting down following a decline in its engagement from users—by the end of 2016, \u003ca href=\"https://techcrunch.com/2017/04/28/yik-yak-shuts-down-after-square-paid-1-million-for-its-engineers/\" target=\"_blank\" rel=\"noopener noreferrer\">user downloads had dropped 76%\u003c/a> in comparison to 2015.\u003c/p>\n\u003ch3>The new company takes a strong stance against hate speech and bullying\u003c/h3>\n\u003cp>Before shutting down in 2017, Yik Yak was the subject of hate speech and cyberbullying across high school and college campuses.\u003c/p>\n\u003cp>But with the newly launched app, owners say they’re committed to taking a strong stance against threats and other abuse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“On the new Yik Yak, it’s against the \u003ca href=\"https://yikyak.com/community-guardrails.html\" target=\"_blank\" rel=\"noopener noreferrer\">Community Guardrails\u003c/a> to post bullying messages or use hate speech, make threats, or share anyone’s private information,” the company says on its website.\u003c/p>\n\u003cp>It says if a user bullies another person, uses hate speech, makes a threat, or in any way seriously violates the company’s policies, they could be immediately banned from Yik Yak.\u003c/p>\n\u003cp>“We’re committed to making Yik Yak a fun place free of bullying, threats, and all sort of negativity,” the company said.\u003c/p>\n\u003cp>The app’s return drew mixed responses on Twitter, with some people worried that it would prompt more \u003ca href=\"https://twitter.com/artpopstan420/status/1427335140334719046?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">“toxicity in the world”\u003c/a> and others joking about being able to \u003ca href=\"https://twitter.com/victoriagraupp/status/1427311018066255883?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">complain anonymously about college life\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The new Yik Yak is currently only available to iOS users to download in the U.S., but the company says it’s planning to expand to more countries and devices in the near future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yik+Yak%2C+The+Anonymous+App+That+Tested+Free+Speech%2C+Is+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Author Rafia Zakaria states her agenda for \u003cem>Against White Feminism \u003c/em>in a book trailer released by Al Jazeera’s AJPlus brand: “putting the fangs back in feminism is a very urgent project.”\u003c/p>\n\u003cp>She then reminds us that mainstream Western feminism is, and always has been, for white women and girls—and that this how it’s been embedded in popular and news media, our consumerist economy, wars, political discourses, and more.\u003c/p>\n\u003cfigure id=\"attachment_13901415\" class=\"wp-caption aligncenter\" style=\"max-width: 782px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg\" alt=\"'Against White Feminism: Notes on Disruption,' Rafia Zakaria\" width=\"782\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-768x1179.jpg 768w\" sizes=\"(max-width: 782px) 100vw, 782px\">\u003cfigcaption class=\"wp-caption-text\">‘Against White Feminism: Notes on Disruption,’ Rafia Zakaria \u003ccite>(W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13885402']The first few lines of her book clarify exactly who she’s calling out as a white feminist: “. . . someone who refuses to consider the role that whiteness and the racial privilege attached to it have played and continue to play in universalizing white feminist concerns, agendas, and beliefs as being those of all feminism and all feminists.” This is about a set of entrenched assumptions and behaviors rather than racial identity. Although, of course, this kind of feminism is advanced mostly by white women.\u003c/p>\n\u003cp>As Zakaria, the civil rights attorney, sets up her case in \u003cem>Against White Feminism: Notes On Disruption, \u003c/em>we see that she is not on some earnest mission to educate the misinformed or enlighten the uninformed. This, as Tressie McMillan Cottom would say, \u003ca href=\"https://tressiemcphd.medium.com/breaking-up-with-white-supremacy-was-always-the-end-game-e7101f578363\" target=\"_blank\" rel=\"noopener noreferrer\">ain’t her row to hoe\u003c/a>. Instead, Zakaria presents, calmly and methodically, plenty of well-researched evidence for why white feminism is messed up and why it must be dismantled. Like the feminists of color she cites—Audre Lorde, Kimberlé Crenshaw, Gayatri Chakravorty Spivak, Lila Abu-Lughod, and more—Zakaria’s thesis is that we are dealing with systemic racism built over centuries into our cultures, institutions, socio-political movements, and everyday interactions and behaviors. And, like \u003ca href=\"https://www.npr.org/2020/02/27/802298200/in-minor-feelings-asian-american-racial-trauma-is-laid-bare\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Park Hong in \u003cem>Minor Feelings\u003c/em>\u003c/a>, Zakaria is not making any allowances for the myth of white innocence.\u003c/p>\n\u003cp>Through historical and contemporary examples from across the world, the book’s eight essays examine how imperialism, settler-colonialism, capitalism, neo-colonialism, and late capitalism have allowed for a white-centric feminism to evolve such that it speaks for all women everywhere. Regardless of their relative disadvantages, cultural differences, and lived experiences, women of color—especially in non-western countries—are only included in this feminist movement when they conform to its particular values. Zakaria illustrates how these values are in service of white supremacy and capitalism, leaving no room for any Black, brown, or Asian feminisms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s the extensive damage done by white women who traveled to colonized countries to civilize and save native women from their terrible conditions and, particularly, from native men. And the centering of whiteness by women who traveled to war-ravaged countries to bring attention to the difficulties of the local women. Instead, those local women were often othered, objectified, or exoticized and coerced to follow the Western feminism model, Zakaria writes. When Western neoliberalism and capitalism became the engines driving large-scale foreign aid and development projects, women’s “empowerment” (a term originally introduced by Indian feminists in a more holistic context) became a “fuzzword that could be pinned to numerous motives,” Zakaria says. All of this is not news to those who’ve been keeping score. But Zakaria goes further to quantify how many such white savior initiatives failed precisely because of their harmful, oppressive approaches.\u003c/p>\n\u003cp>[aside postid='arts_13865685']This fuzzy kind of empowerment is also part of the securofeminism that emerged during the war on terror. Discussing the hypocrisies and ironies that not only caused initiatives and programs in those countries to run aground, Zakaria reveals the appalling cruelties they inflicted on local women in the name of freedom.\u003c/p>\n\u003cp>Similarly, Zakaria says, sex-positive feminism has become a stand-in for total liberation and empowerment and led to the commodification of sexual identities. She relates a particularly moving incident from her law school days. As a brown Muslim immigrant, a divorced, single mother, and a survivor of domestic abuse, she felt forced to perform her sexuality or be reduced to the usual stereotypes associated with her cultural identity. The ending of this chapter speaks to so many women like her (and me):\u003c/p>\n\u003cblockquote>\u003cp>“I had broken every gender norm I had been raised with, had chosen education and independence—and all the struggles that came with it—with little support. The seminar’s preoccupation with sexual pleasure instead of sexual politics seemed so disconnected from the feminism I was trying so hard to model for my daughter. If only I could have known I was not alone, had been able to hear the voices of Muslim and other feminists of color like myself waging frontline struggles against terror, against religious obscurantism, and against patriarchal domination, but yet excluded from white feminist discourse.”\u003c/p>\u003c/blockquote>\n\u003cp>Although such personal anecdotes are included throughout, Zakaria’s aim is not to explore her own pain but to retrace the history of how white feminism has caused unending trauma through the centuries to many like her. What she wants is nothing less than transformational change that blows past tokenistic affirmative actions. The last chapter outlines four ways that white feminists need to change their mindset for this transformation to occur. These are not new suggestions but, given the state of things, they bear repeating.\u003c/p>\n\u003cp>More critically, let us all internalize these three ideas that Zakaria threads throughout the book. First, she reminds us of Kimberlé Crenshaw’s “war for narrative”, which asks feminists of color to reshape the story and course of the movement, make the role of whiteness visible, and recalibrate our experiences and politics into feminism. We must develop and honor our own genealogies by including the resilient women in our lives and histories who have not been considered feminist per the traditional Western model. Second, she cites Nancy Fraser’s philosophy of gender justice, which involves redistribution in the economic sphere beyond class hierarchies, recognition in the socio-cultural sphere beyond tokenism, and representation in the political sphere beyond identity politics. Third, she invokes Audre Lorde’s call for solidarity, where community does not mean compromise or competition but a space that accommodates and values different kinds of knowledge and expertise, particularly that which comes from lived experience.\u003c/p>\n\u003cp>[aside postid='arts_13897161']White feminism isn’t confined to the Western world; it has been exported and embedded all over the world. If the ongoing effects and implications of that haven’t made you want to bare your fangs yet, this steely, incisive critique deserves your attention.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://jennybhattwriter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenny Bhatt\u003c/a> is a writer, literary translator, book critic, and host of the \u003c/em>Desi Books \u003cem>podcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Against+White+Feminism%27+Is+An+Urgent+Call+To+Action+For+Solidarity+And+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Author Rafia Zakaria states her agenda for \u003cem>Against White Feminism \u003c/em>in a book trailer released by Al Jazeera’s AJPlus brand: “putting the fangs back in feminism is a very urgent project.”\u003c/p>\n\u003cp>She then reminds us that mainstream Western feminism is, and always has been, for white women and girls—and that this how it’s been embedded in popular and news media, our consumerist economy, wars, political discourses, and more.\u003c/p>\n\u003cfigure id=\"attachment_13901415\" class=\"wp-caption aligncenter\" style=\"max-width: 782px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg\" alt=\"'Against White Feminism: Notes on Disruption,' Rafia Zakaria\" width=\"782\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-768x1179.jpg 768w\" sizes=\"(max-width: 782px) 100vw, 782px\">\u003cfigcaption class=\"wp-caption-text\">‘Against White Feminism: Notes on Disruption,’ Rafia Zakaria \u003ccite>(W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first few lines of her book clarify exactly who she’s calling out as a white feminist: “. . . someone who refuses to consider the role that whiteness and the racial privilege attached to it have played and continue to play in universalizing white feminist concerns, agendas, and beliefs as being those of all feminism and all feminists.” This is about a set of entrenched assumptions and behaviors rather than racial identity. Although, of course, this kind of feminism is advanced mostly by white women.\u003c/p>\n\u003cp>As Zakaria, the civil rights attorney, sets up her case in \u003cem>Against White Feminism: Notes On Disruption, \u003c/em>we see that she is not on some earnest mission to educate the misinformed or enlighten the uninformed. This, as Tressie McMillan Cottom would say, \u003ca href=\"https://tressiemcphd.medium.com/breaking-up-with-white-supremacy-was-always-the-end-game-e7101f578363\" target=\"_blank\" rel=\"noopener noreferrer\">ain’t her row to hoe\u003c/a>. Instead, Zakaria presents, calmly and methodically, plenty of well-researched evidence for why white feminism is messed up and why it must be dismantled. Like the feminists of color she cites—Audre Lorde, Kimberlé Crenshaw, Gayatri Chakravorty Spivak, Lila Abu-Lughod, and more—Zakaria’s thesis is that we are dealing with systemic racism built over centuries into our cultures, institutions, socio-political movements, and everyday interactions and behaviors. And, like \u003ca href=\"https://www.npr.org/2020/02/27/802298200/in-minor-feelings-asian-american-racial-trauma-is-laid-bare\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Park Hong in \u003cem>Minor Feelings\u003c/em>\u003c/a>, Zakaria is not making any allowances for the myth of white innocence.\u003c/p>\n\u003cp>Through historical and contemporary examples from across the world, the book’s eight essays examine how imperialism, settler-colonialism, capitalism, neo-colonialism, and late capitalism have allowed for a white-centric feminism to evolve such that it speaks for all women everywhere. Regardless of their relative disadvantages, cultural differences, and lived experiences, women of color—especially in non-western countries—are only included in this feminist movement when they conform to its particular values. Zakaria illustrates how these values are in service of white supremacy and capitalism, leaving no room for any Black, brown, or Asian feminisms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s the extensive damage done by white women who traveled to colonized countries to civilize and save native women from their terrible conditions and, particularly, from native men. And the centering of whiteness by women who traveled to war-ravaged countries to bring attention to the difficulties of the local women. Instead, those local women were often othered, objectified, or exoticized and coerced to follow the Western feminism model, Zakaria writes. When Western neoliberalism and capitalism became the engines driving large-scale foreign aid and development projects, women’s “empowerment” (a term originally introduced by Indian feminists in a more holistic context) became a “fuzzword that could be pinned to numerous motives,” Zakaria says. All of this is not news to those who’ve been keeping score. But Zakaria goes further to quantify how many such white savior initiatives failed precisely because of their harmful, oppressive approaches.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This fuzzy kind of empowerment is also part of the securofeminism that emerged during the war on terror. Discussing the hypocrisies and ironies that not only caused initiatives and programs in those countries to run aground, Zakaria reveals the appalling cruelties they inflicted on local women in the name of freedom.\u003c/p>\n\u003cp>Similarly, Zakaria says, sex-positive feminism has become a stand-in for total liberation and empowerment and led to the commodification of sexual identities. She relates a particularly moving incident from her law school days. As a brown Muslim immigrant, a divorced, single mother, and a survivor of domestic abuse, she felt forced to perform her sexuality or be reduced to the usual stereotypes associated with her cultural identity. The ending of this chapter speaks to so many women like her (and me):\u003c/p>\n\u003cblockquote>\u003cp>“I had broken every gender norm I had been raised with, had chosen education and independence—and all the struggles that came with it—with little support. The seminar’s preoccupation with sexual pleasure instead of sexual politics seemed so disconnected from the feminism I was trying so hard to model for my daughter. If only I could have known I was not alone, had been able to hear the voices of Muslim and other feminists of color like myself waging frontline struggles against terror, against religious obscurantism, and against patriarchal domination, but yet excluded from white feminist discourse.”\u003c/p>\u003c/blockquote>\n\u003cp>Although such personal anecdotes are included throughout, Zakaria’s aim is not to explore her own pain but to retrace the history of how white feminism has caused unending trauma through the centuries to many like her. What she wants is nothing less than transformational change that blows past tokenistic affirmative actions. The last chapter outlines four ways that white feminists need to change their mindset for this transformation to occur. These are not new suggestions but, given the state of things, they bear repeating.\u003c/p>\n\u003cp>More critically, let us all internalize these three ideas that Zakaria threads throughout the book. First, she reminds us of Kimberlé Crenshaw’s “war for narrative”, which asks feminists of color to reshape the story and course of the movement, make the role of whiteness visible, and recalibrate our experiences and politics into feminism. We must develop and honor our own genealogies by including the resilient women in our lives and histories who have not been considered feminist per the traditional Western model. Second, she cites Nancy Fraser’s philosophy of gender justice, which involves redistribution in the economic sphere beyond class hierarchies, recognition in the socio-cultural sphere beyond tokenism, and representation in the political sphere beyond identity politics. Third, she invokes Audre Lorde’s call for solidarity, where community does not mean compromise or competition but a space that accommodates and values different kinds of knowledge and expertise, particularly that which comes from lived experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "13 Years After the Last R. Kelly Trial, the Culture Has Changed",
"headTitle": "13 Years After the Last R. Kelly Trial, the Culture Has Changed | KQED",
"content": "\u003cp>\u003cem>Editor’s note: This essay includes allegations of sexual assault and physical abuse.\u003c/em>\u003c/p>\n\u003cp>On Wednesday, testimony is scheduled to begin in a Brooklyn courthouse in the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">first of two federal trials\u003c/a> against singer, songwriter and producer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>. Across two sets of indictments in New York and Illinois, the one-time R&B king is accused of abusing 11 girls and women over more than two decades; making child pornography; making hush-money payments to silence alleged victims; and building a \u003ca href=\"https://www.justice.gov/usao-edny/pr/r-kelly-charged-racketeering-including-predicate-acts-coercing-and-transporting-minor\" target=\"_blank\" rel=\"noopener noreferrer\">criminal enterprise\u003c/a> specifically to “prey upon young women and teenagers.”\u003c/p>\n\u003cp>[aside postid='pop_104682']Additionally, the New York prosecutors want to admit what they say is \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">evidence\u003c/a> that Kelly sexually and physically abused girls and women as far back as 1991, sexually abused a boy, and committed bribery. Kelly has pleaded not guilty to all charges, and has consistently denied accusations that he abused anyone.\u003c/p>\n\u003cp>Often, when I’ve told people that I’m covering the New York trial, they have been confused. Allegations have swirled around Kelly for \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\">over 25 years now\u003c/a>, and so they ask me: Wasn’t he arrested years ago? Yes: he was arrested most recently in July 2019, and he’s remained in custody for the two years since, awaiting trial. But they may also be thinking of his first big trial in 2008—and those accusations, and that trial, figure into some of the current charges.\u003c/p>\n\u003cp>In 2002, in his hometown of Chicago, Kelly was indicted on numerous child pornography charges after a notorious sex tape circulated: it purportedly showed the singer having sex with and urinating on a female whom prosecutors said was about 14 years old at the time. A full six years later, Kelly went to trial and was acquitted of all charges. The young woman who was thought to be the girl on the tape and her parents refused to testify.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That 2008 trial figures heavily into some of the current Illinois charges, which include accusations that Kelly and members of his circle intimidated the girl and her father, and persuaded them to lie to both police and a grand jury. Their subsequent refusal to testify, despite \u003ca href=\"https://www.chicagotribune.com/news/ct-xpm-2008-06-14-0806140185-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">14 other witnesses\u003c/a> identifying the girl, seems to have swayed many jurors to acquit Kelly. (That same woman, now in her thirties, said in 2019 that she was \u003ca href=\"https://www.nytimes.com/2019/07/16/arts/music/r-kelly-sexual-assault-tape.html\" target=\"_blank\" rel=\"noopener noreferrer\">cooperating\u003c/a> with federal investigators.)\u003c/p>\n\u003cp>Back then, it seemed like much of the pop culture conversation was primarily about Kelly and his alleged predilections and behaviors, and not so much about anyone who may have been hurt. In certain ways, the culture has shifted since Kelly last stood on trial. Many fans today seem far less willing to overlook what they perceive as problematic content or context in an artist’s work—whether it’s related to racism, sexism, unfair power dynamics or \u003ca href=\"https://www.kqed.org/arts/13900624/the-music-industry-is-holding-dababy-accountable\" target=\"_blank\" rel=\"noopener noreferrer\">homophobia\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_109568']The intervening 13 years have also seen dogged, tenacious reporting on Kelly, including \u003ca href=\"https://www.npr.org/2019/06/04/729310654/in-soulless-a-journalist-takes-on-r-kelly-and-the-business-that-made-him-a-star\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soulless: The Case Against R. Kelly\u003c/em>\u003c/a>\u003cem>, \u003c/em>a book by former \u003cem>Chicago Sun-Times\u003c/em> journalist and music critic \u003ca href=\"http://jimdero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jim DeRogatis\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/02/20/695083431/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-s-supported-him\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>\u003cem>,\u003c/em> a six-part docuseries helmed by \u003ca href=\"https://www.dreamhampton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">dream hampton\u003c/a> that aired on Lifetime. Both were released in 2019, in the midst of the #MeToo movement.\u003c/p>\n\u003cp>In the early days of #MeToo, many prominent accusers were \u003ca href=\"https://www.npr.org/2020/01/22/798222176/the-harvey-weinstein-trial-a-brief-timeline-of-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">white women\u003c/a>. But the Kelly-related projects explicitly centered the mostly Black girls and women who allegedly were harmed.\u003c/p>\n\u003cp>As those projects were being developed, a \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\" target=\"_blank\" rel=\"noopener noreferrer\">#MuteRKelly\u003c/a> movement—founded by two Black women, Kenyette Barnes and Oronike Odeleye—gathered steam in an effort to pressure large entertainment companies to sever their ties with Kelly. In writing about #MuteRKelly, \u003cem>Washington Post\u003c/em> columnist Christine Emba \u003ca href=\"https://www.washingtonpost.com/opinions/black-women-deserve-better-will-2019-be-the-year-of-change/2019/01/09\" target=\"_blank\" rel=\"noopener noreferrer\">cited\u003c/a> a 1962 speech by Malcolm X: “The most disrespected person in America is the Black woman. The most unprotected person in America is the Black woman. The most neglected person in America is the Black woman.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/jerhonda-pace-r-kelly-me-too-tarana-burke#.vc8K1olGo\" target=\"_blank\" rel=\"noopener noreferrer\">interview \u003c/a>Barnes gave to DeRogatis for BuzzFeed News in March 2018, she asserted: “We don’t give a damn about Black girls. If R. Kelly was white, every civil rights leader would be marching in every street in this country. If the girls were white, every feminist group would be coming out enraged in droves of pussy hats to march against him. The bottom line is that R. Kelly and his victims are the perfect storm of people we don’t care about. We protect problematic Black men in the Black community, and we discard Black girls in all communities. Essentially, he is the greatest example of a predator in that he went after the most vulnerable that no one cares about.”\u003c/p>\n\u003cp>A few months later, though, Kelly’s management called #MuteRKelly “a public lynching,” noting that “since America was born, Black men and women have been lynched for having sex or for being accused of it.” At the time, #MeToo founder and activist Tarana Burke \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a>, “The reality of lynching in America is so, so painful and so real. This is not a public lynching. This is a call for public accountability.” (Moreover, in many cases Kelly’s accusers have said that they were underage girls, not women, when they began sexual contact with him.)\u003c/p>\n\u003cp>[aside postid='pop_108417']“We have seen 24 years of allegations leveled against R. Kelly, and he has gone unscathed,” Burke continued in that 2018 conversation. “What we are looking for, in our community and out, is some accountability from the corporations that support this person who has a 24-year history of sexual violence perpetrated against Black and brown girls around the country.” (At the end of that year, Burke was one of the victims of a gun threat called into an advance screening of \u003cem>Surviving R. Kelly\u003c/em> in New York; Kelly’s former manager, Donnell Russell, has been \u003ca href=\"https://www.npr.org/2020/08/14/902514816/r-kellys-former-manager-charged-with-gun-threat-to-surviving-r-kelly-screening\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> with making that threat. His case is ongoing.)\u003c/p>\n\u003cp>To a large extent, #MuteRKelly came to fruition, albeit years after Kelly’s commercial and creative peak, and sometimes in highly qualified ways. In May 2018, for example, Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610051559/starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct\" target=\"_blank\" rel=\"noopener noreferrer\">dropped\u003c/a> Kelly from its playlists, the way that \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\" target=\"_blank\" rel=\"noopener noreferrer\">many listeners\u003c/a> use the service, rather than seeking out particular artists or songs. If you actively search for Kelly’s music on Spotify, however, it’s still there, as are the songs he wrote and/or produced for other artists, including Celine Dion, Janet Jackson, Ludacris, Lil Wayne, Ciara, Missy Elliott and another artist some listeners consider problematic: Michael Jackson.\u003c/p>\n\u003cp>There’s been one notable exception: Much of the music by Kelly’s protégée Aaliyah—whom he married in 1994, when she was 15 years old and he was 27—is not on Spotify or other streaming services at all. But in an interesting bit of timing, Barry Hankerson, Aaliyah’s uncle and the former manager of both artists, \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> just days before the Kelly trial began that he is making her recording catalog available to streaming services. The New York prosecutors refer to Aaliyah in their indictment as “Jane Doe #1,” for whom they say Kelly and associates bribed a public official to create a fake ID before their marriage.\u003c/p>\n\u003cp>In Jan. 2019, Kelly’s longtime record label RCA and its parent company, Sony Music Entertainment, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dropped him\u003c/a> from their artist roster after \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\" target=\"_blank\" rel=\"noopener noreferrer\">pressure mounted\u003c/a> from #MuteRKelly. But that decision, apparently made in the wake of \u003cem>Surviving R. Kelly\u003c/em> airing, came 16 years after his last big chart hit, 2003’s “Ignition (Remix).” Furthermore, RCA and Sony never publicly acknowledged having dropped Kelly.\u003c/p>\n\u003cp>Long before the most recent wave of accusations and reporting, Black and brown voices were calling for a reckoning. Nearly two decades before \u003cem>Surviving R. Kelly,\u003c/em> longtime \u003cem>Chicago Sun-Times \u003c/em>columnist Mary Mitchell wrote many pieces asking why the alleged victims were being dismissed or ignored, and why so many Chicagoans were so eager to \u003ca href=\"https://chicago.suntimes.com/2002/8/8/22613656/r-kelly-2002-trial-fans-rally-cook-county-chicago-sun-times-mary-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">side with Kelly\u003c/a>.\u003c/p>\n\u003cp>Still, many fans adored him. Quite a few fellow artists brushed aside the allegations and continued to work with him. And comedians like \u003ca href=\"https://www.youtube.com/watch?v=eafRE74JGZ8\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Chappelle\u003c/a> joked about the alleged Kelly tape and its contents.\u003c/p>\n\u003cp>In the aftermath of the debut airing of \u003cem>Surviving R. Kelly,\u003c/em> then-\u003cem>New York Times \u003c/em>culture editor (and now \u003ca href=\"https://www.npr.org/people/912788259/aisha-harris\" target=\"_blank\" rel=\"noopener noreferrer\">NPR colleague\u003c/a>) Aisha Harris wrote about how the allegations against Kelly became pop-culture\u003ca href=\"https://www.nytimes.com/2019/01/06/arts/television/surviving-r-kelly-dave-chappelle.html\" target=\"_blank\" rel=\"noopener noreferrer\"> joke fodder\u003c/a>: “For years,” she wrote, “those who laughed at Kelly were able to ignore the charges against him.”\u003c/p>\n\u003cp>[aside postid='pop_109631']In retrospect, that particular spin cycle is reminiscent of what happened to Britney Spears \u003ca href=\"https://www.npr.org/2021/06/25/1009859700/opinion-britney-is-the-latest-victim-of-the-industry-machine\" target=\"_blank\" rel=\"noopener noreferrer\">in the same era\u003c/a>. (She was one of R. Kelly’s labelmates at Jive and then RCA, and Kelly wrote and produced her song “Outrageous,” released in 2004.) Spears’ public struggles, which became little more than a joke and grist for the 24/7 grind of gossip blogs and cable channels vying for eyeballs, happened nearly simultaneously with Kelly’s Chicago trial. The girl at the center of that trial, like Spears, largely became a punchline.\u003c/p>\n\u003cp>Several of the women who have accused Kelly of sexual, physical and/or psychological abuse say that when they met him, they, too, like that girl allegedly featured on the infamous tape, were teenagers attempting to become professional musicians, and hoped that the king of R&B would help them chart their own musical careers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the music industry, this is a familiar story. Young men strive to make it in the tough, unforgiving music industry; if they succeed, it’s often at least partly through the help of older male mentors. Young women striving to make it in the tough, unforgiving music industry might also seek the help of older male mentors; after all, there are still \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/annenberg-inclusion-initiatives-annual-report-popular-music-reveals-little\" target=\"_blank\" rel=\"noopener noreferrer\">far more\u003c/a> successful men in the business than women. But sometimes, rather than being given guidance or opportunity, they instead are cultivated as sexual conquests—and those dreams fade away.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Opinion%3A+13+Years+After+The+Last+R.+Kelly+Trial%2C+The+Culture+Has+Changed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The first federal trial against disgraced R&B superstar R. Kelly is finally underway, after over 25 years of abuse allegations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This essay includes allegations of sexual assault and physical abuse.\u003c/em>\u003c/p>\n\u003cp>On Wednesday, testimony is scheduled to begin in a Brooklyn courthouse in the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">first of two federal trials\u003c/a> against singer, songwriter and producer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>. Across two sets of indictments in New York and Illinois, the one-time R&B king is accused of abusing 11 girls and women over more than two decades; making child pornography; making hush-money payments to silence alleged victims; and building a \u003ca href=\"https://www.justice.gov/usao-edny/pr/r-kelly-charged-racketeering-including-predicate-acts-coercing-and-transporting-minor\" target=\"_blank\" rel=\"noopener noreferrer\">criminal enterprise\u003c/a> specifically to “prey upon young women and teenagers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Additionally, the New York prosecutors want to admit what they say is \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">evidence\u003c/a> that Kelly sexually and physically abused girls and women as far back as 1991, sexually abused a boy, and committed bribery. Kelly has pleaded not guilty to all charges, and has consistently denied accusations that he abused anyone.\u003c/p>\n\u003cp>Often, when I’ve told people that I’m covering the New York trial, they have been confused. Allegations have swirled around Kelly for \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\">over 25 years now\u003c/a>, and so they ask me: Wasn’t he arrested years ago? Yes: he was arrested most recently in July 2019, and he’s remained in custody for the two years since, awaiting trial. But they may also be thinking of his first big trial in 2008—and those accusations, and that trial, figure into some of the current charges.\u003c/p>\n\u003cp>In 2002, in his hometown of Chicago, Kelly was indicted on numerous child pornography charges after a notorious sex tape circulated: it purportedly showed the singer having sex with and urinating on a female whom prosecutors said was about 14 years old at the time. A full six years later, Kelly went to trial and was acquitted of all charges. The young woman who was thought to be the girl on the tape and her parents refused to testify.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That 2008 trial figures heavily into some of the current Illinois charges, which include accusations that Kelly and members of his circle intimidated the girl and her father, and persuaded them to lie to both police and a grand jury. Their subsequent refusal to testify, despite \u003ca href=\"https://www.chicagotribune.com/news/ct-xpm-2008-06-14-0806140185-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">14 other witnesses\u003c/a> identifying the girl, seems to have swayed many jurors to acquit Kelly. (That same woman, now in her thirties, said in 2019 that she was \u003ca href=\"https://www.nytimes.com/2019/07/16/arts/music/r-kelly-sexual-assault-tape.html\" target=\"_blank\" rel=\"noopener noreferrer\">cooperating\u003c/a> with federal investigators.)\u003c/p>\n\u003cp>Back then, it seemed like much of the pop culture conversation was primarily about Kelly and his alleged predilections and behaviors, and not so much about anyone who may have been hurt. In certain ways, the culture has shifted since Kelly last stood on trial. Many fans today seem far less willing to overlook what they perceive as problematic content or context in an artist’s work—whether it’s related to racism, sexism, unfair power dynamics or \u003ca href=\"https://www.kqed.org/arts/13900624/the-music-industry-is-holding-dababy-accountable\" target=\"_blank\" rel=\"noopener noreferrer\">homophobia\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The intervening 13 years have also seen dogged, tenacious reporting on Kelly, including \u003ca href=\"https://www.npr.org/2019/06/04/729310654/in-soulless-a-journalist-takes-on-r-kelly-and-the-business-that-made-him-a-star\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soulless: The Case Against R. Kelly\u003c/em>\u003c/a>\u003cem>, \u003c/em>a book by former \u003cem>Chicago Sun-Times\u003c/em> journalist and music critic \u003ca href=\"http://jimdero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jim DeRogatis\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/02/20/695083431/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-s-supported-him\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>\u003cem>,\u003c/em> a six-part docuseries helmed by \u003ca href=\"https://www.dreamhampton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">dream hampton\u003c/a> that aired on Lifetime. Both were released in 2019, in the midst of the #MeToo movement.\u003c/p>\n\u003cp>In the early days of #MeToo, many prominent accusers were \u003ca href=\"https://www.npr.org/2020/01/22/798222176/the-harvey-weinstein-trial-a-brief-timeline-of-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">white women\u003c/a>. But the Kelly-related projects explicitly centered the mostly Black girls and women who allegedly were harmed.\u003c/p>\n\u003cp>As those projects were being developed, a \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\" target=\"_blank\" rel=\"noopener noreferrer\">#MuteRKelly\u003c/a> movement—founded by two Black women, Kenyette Barnes and Oronike Odeleye—gathered steam in an effort to pressure large entertainment companies to sever their ties with Kelly. In writing about #MuteRKelly, \u003cem>Washington Post\u003c/em> columnist Christine Emba \u003ca href=\"https://www.washingtonpost.com/opinions/black-women-deserve-better-will-2019-be-the-year-of-change/2019/01/09\" target=\"_blank\" rel=\"noopener noreferrer\">cited\u003c/a> a 1962 speech by Malcolm X: “The most disrespected person in America is the Black woman. The most unprotected person in America is the Black woman. The most neglected person in America is the Black woman.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/jerhonda-pace-r-kelly-me-too-tarana-burke#.vc8K1olGo\" target=\"_blank\" rel=\"noopener noreferrer\">interview \u003c/a>Barnes gave to DeRogatis for BuzzFeed News in March 2018, she asserted: “We don’t give a damn about Black girls. If R. Kelly was white, every civil rights leader would be marching in every street in this country. If the girls were white, every feminist group would be coming out enraged in droves of pussy hats to march against him. The bottom line is that R. Kelly and his victims are the perfect storm of people we don’t care about. We protect problematic Black men in the Black community, and we discard Black girls in all communities. Essentially, he is the greatest example of a predator in that he went after the most vulnerable that no one cares about.”\u003c/p>\n\u003cp>A few months later, though, Kelly’s management called #MuteRKelly “a public lynching,” noting that “since America was born, Black men and women have been lynched for having sex or for being accused of it.” At the time, #MeToo founder and activist Tarana Burke \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a>, “The reality of lynching in America is so, so painful and so real. This is not a public lynching. This is a call for public accountability.” (Moreover, in many cases Kelly’s accusers have said that they were underage girls, not women, when they began sexual contact with him.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We have seen 24 years of allegations leveled against R. Kelly, and he has gone unscathed,” Burke continued in that 2018 conversation. “What we are looking for, in our community and out, is some accountability from the corporations that support this person who has a 24-year history of sexual violence perpetrated against Black and brown girls around the country.” (At the end of that year, Burke was one of the victims of a gun threat called into an advance screening of \u003cem>Surviving R. Kelly\u003c/em> in New York; Kelly’s former manager, Donnell Russell, has been \u003ca href=\"https://www.npr.org/2020/08/14/902514816/r-kellys-former-manager-charged-with-gun-threat-to-surviving-r-kelly-screening\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> with making that threat. His case is ongoing.)\u003c/p>\n\u003cp>To a large extent, #MuteRKelly came to fruition, albeit years after Kelly’s commercial and creative peak, and sometimes in highly qualified ways. In May 2018, for example, Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610051559/starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct\" target=\"_blank\" rel=\"noopener noreferrer\">dropped\u003c/a> Kelly from its playlists, the way that \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\" target=\"_blank\" rel=\"noopener noreferrer\">many listeners\u003c/a> use the service, rather than seeking out particular artists or songs. If you actively search for Kelly’s music on Spotify, however, it’s still there, as are the songs he wrote and/or produced for other artists, including Celine Dion, Janet Jackson, Ludacris, Lil Wayne, Ciara, Missy Elliott and another artist some listeners consider problematic: Michael Jackson.\u003c/p>\n\u003cp>There’s been one notable exception: Much of the music by Kelly’s protégée Aaliyah—whom he married in 1994, when she was 15 years old and he was 27—is not on Spotify or other streaming services at all. But in an interesting bit of timing, Barry Hankerson, Aaliyah’s uncle and the former manager of both artists, \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> just days before the Kelly trial began that he is making her recording catalog available to streaming services. The New York prosecutors refer to Aaliyah in their indictment as “Jane Doe #1,” for whom they say Kelly and associates bribed a public official to create a fake ID before their marriage.\u003c/p>\n\u003cp>In Jan. 2019, Kelly’s longtime record label RCA and its parent company, Sony Music Entertainment, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dropped him\u003c/a> from their artist roster after \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\" target=\"_blank\" rel=\"noopener noreferrer\">pressure mounted\u003c/a> from #MuteRKelly. But that decision, apparently made in the wake of \u003cem>Surviving R. Kelly\u003c/em> airing, came 16 years after his last big chart hit, 2003’s “Ignition (Remix).” Furthermore, RCA and Sony never publicly acknowledged having dropped Kelly.\u003c/p>\n\u003cp>Long before the most recent wave of accusations and reporting, Black and brown voices were calling for a reckoning. Nearly two decades before \u003cem>Surviving R. Kelly,\u003c/em> longtime \u003cem>Chicago Sun-Times \u003c/em>columnist Mary Mitchell wrote many pieces asking why the alleged victims were being dismissed or ignored, and why so many Chicagoans were so eager to \u003ca href=\"https://chicago.suntimes.com/2002/8/8/22613656/r-kelly-2002-trial-fans-rally-cook-county-chicago-sun-times-mary-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">side with Kelly\u003c/a>.\u003c/p>\n\u003cp>Still, many fans adored him. Quite a few fellow artists brushed aside the allegations and continued to work with him. And comedians like \u003ca href=\"https://www.youtube.com/watch?v=eafRE74JGZ8\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Chappelle\u003c/a> joked about the alleged Kelly tape and its contents.\u003c/p>\n\u003cp>In the aftermath of the debut airing of \u003cem>Surviving R. Kelly,\u003c/em> then-\u003cem>New York Times \u003c/em>culture editor (and now \u003ca href=\"https://www.npr.org/people/912788259/aisha-harris\" target=\"_blank\" rel=\"noopener noreferrer\">NPR colleague\u003c/a>) Aisha Harris wrote about how the allegations against Kelly became pop-culture\u003ca href=\"https://www.nytimes.com/2019/01/06/arts/television/surviving-r-kelly-dave-chappelle.html\" target=\"_blank\" rel=\"noopener noreferrer\"> joke fodder\u003c/a>: “For years,” she wrote, “those who laughed at Kelly were able to ignore the charges against him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In retrospect, that particular spin cycle is reminiscent of what happened to Britney Spears \u003ca href=\"https://www.npr.org/2021/06/25/1009859700/opinion-britney-is-the-latest-victim-of-the-industry-machine\" target=\"_blank\" rel=\"noopener noreferrer\">in the same era\u003c/a>. (She was one of R. Kelly’s labelmates at Jive and then RCA, and Kelly wrote and produced her song “Outrageous,” released in 2004.) Spears’ public struggles, which became little more than a joke and grist for the 24/7 grind of gossip blogs and cable channels vying for eyeballs, happened nearly simultaneously with Kelly’s Chicago trial. The girl at the center of that trial, like Spears, largely became a punchline.\u003c/p>\n\u003cp>Several of the women who have accused Kelly of sexual, physical and/or psychological abuse say that when they met him, they, too, like that girl allegedly featured on the infamous tape, were teenagers attempting to become professional musicians, and hoped that the king of R&B would help them chart their own musical careers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the music industry, this is a familiar story. Young men strive to make it in the tough, unforgiving music industry; if they succeed, it’s often at least partly through the help of older male mentors. Young women striving to make it in the tough, unforgiving music industry might also seek the help of older male mentors; after all, there are still \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/annenberg-inclusion-initiatives-annual-report-popular-music-reveals-little\" target=\"_blank\" rel=\"noopener noreferrer\">far more\u003c/a> successful men in the business than women. But sometimes, rather than being given guidance or opportunity, they instead are cultivated as sexual conquests—and those dreams fade away.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Opinion%3A+13+Years+After+The+Last+R.+Kelly+Trial%2C+The+Culture+Has+Changed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "McDonald's Launches a Saweetie Celebrity Meal",
"headTitle": "McDonald’s Launches a Saweetie Celebrity Meal | KQED",
"content": "\u003cp>Watch out folks: This summer may just be getting a little bit \u003cem>icy\u003c/em>.\u003c/p>\n\u003cp>Multi-platinum rapper Saweetie, who rose to fame with her hit single “Icy Girl,” is teaming up with McDonald’s to bring a little twist to her favorite menu order for her fans. Starting this week, customers across the United States can order “The Saweetie Meal,” featuring a few of the fast-food chain’s signature items—and a “Saweetie ‘N Sour” sauce.\u003c/p>\n\u003cp>https://twitter.com/Saweetie/status/1424809356063764482\u003c/p>\n\u003cp>“McDonald’s and I run deep—from growing up back in Hayward, California, all through my college days—so I had to bring my icy gang in on my all-time favorites,” Saweetie, whose real name is Diamonté Harper, said\u003ca href=\"https://www.prnewswire.com/news-releases/saweetie-taps-in-for-a-new-collab-with-mcdonalds-usa-unveiling-her-signature-order-301343969.html\" target=\"_blank\" rel=\"noopener noreferrer\"> in a news release\u003c/a>.\u003c/p>\n\u003cp>The company’s partnership with the rapper is just the latest example of major brands, from Adidas to Cadillac, reaching out to diverse consumers, as the nation continues to recover from the racial turmoil following George Floyd’s murder last summer.\u003c/p>\n\u003ch3>Saweetie’s promotion joins a variety of diverse artists\u003c/h3>\n\u003cp>Saweetie marks the first female musician, and the first African-American female musician, to have a celebrity menu collaboration with McDonald’s since the company kicked off its \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.alistair-btsmeal.html\" target=\"_blank\" rel=\"noopener noreferrer\">Famous Orders program in 2020\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Previous limited-time meals introduced by the company featured a wide variety of celebrities, including last September’s meal with rapper \u003ca href=\"https://www.npr.org/2020/09/17/913880991/mcdonalds-runs-low-on-ingredients-for-travis-scott-quarter-pounder\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>, last October’s meal with reggaeton artist\u003ca href=\"https://www.npr.org/sections/altlatino/2018/05/24/613004703/j-balvin-wont-settle-for-anything-less-than-world-domination\" target=\"_blank\" rel=\"noopener noreferrer\"> J Balvin\u003c/a> and, most recently, this summer’s meal with the \u003ca href=\"https://www.npr.org/2021/05/27/1000786862/k-pop-group-bts-and-mcdonalds-launch-exclusive-meal-and-clothing-line\" target=\"_blank\" rel=\"noopener noreferrer\">South Korean pop band BTS\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13881731']The celebrity-inspired meals have been a hit for the fast-food chain. McDonald’s President and CEO Chris Kempczinski hinted this month that more celebrity meals may be coming, according to \u003cem>\u003ca href=\"https://www.usatoday.com/story/money/food/2021/07/29/mcdonalds-saweetie-menu-meal-celebrity-famous-orders/5409895001/\" target=\"_blank\" rel=\"noopener noreferrer\">USA Today\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In May, McDonald’s announced \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.diverse-owned-media.html\">new investments in diverse-owned media \u003c/a>content for the company in an effort to further reflect its diverse customers, workers and communities in its marketing.\u003c/p>\n\u003cp>Over the next four years, the company says it will allocate advertising dollars to diverse-owned media companies, production houses and content creators. With Black-owned properties specifically, McDonald’s says its diverse-owned media partners will increase from 2% to 5% of the company’s national advertising spending over time.\u003c/p>\n\u003ch3>Representation of diversity is on the rise among major brands\u003c/h3>\n\u003cp>In the past year, many brands and companies have become noticeably more inclusive, featuring more Black and other minorities in their ads and marketing materials as a way to take a stand against racism.\u003c/p>\n\u003cp>Following George Floyd’s murder last May, companies across the globe began issuing various calls to action—including more diversity in advertising, increased spending on diverse companies and investing a greater amount of money in minority-owned media companies—in an effort to connect with Black and brown consumers.\u003c/p>\n\u003cp>“With the uprising and the advocacy and the demands after the murder of George Floyd, really there’s been a spotlight shining on the importance of highlighting and making space for Black people, specifically Black women,” said Alfredo Del Cid, head of learning and development at Collective, a diversity, equity and inclusion consulting firm.\u003c/p>\n\u003cp>A number of major brands have struck deals with major Black celebrities in an effort to maintain and expand their consumers of color.\u003c/p>\n\u003cp>Earlier this year, Uber Eats partnered with \u003ca href=\"https://adage.com/creativity/work/simone-biles-and-jonathan-van-ness-are-duo-you-never-realized-you-needed-uber-eats-matchup-ads/2288491\" target=\"_blank\" rel=\"noopener noreferrer\">Olympian Simone Biles\u003c/a>, featuring the star gymnast in its ads and TV commercials around the time of the Tokyo Olympics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6VKeiNjM-AM\u003c/p>\n\u003cp>\u003ca href=\"https://media.cadillac.com/media/us/en/cadillac/vehicles/ct4-v/2021.detail.html/content/Pages/news/us/en/2020/sep/0930-cadillac-technologies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac partnered with award-winning actress\u003c/a> Regina King, naming her a brand ambassador and the star for its campaign for the newest line of the Escalade SUV.\u003c/p>\n\u003cp>And \u003ca href=\"https://news.adidas.com/originals/ivy-park-rodeo--fourth-ivy-park-collection-with-beyonc-/s/2fc39fb5-18b9-45bb-a0de-045df1212125\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé partnered with Adidas\u003c/a> to launch her “Ivy Park” clothing collection.\u003c/p>\n\u003cp>“There’s all of these ways that these partnerships are coming together that influence the consumer—because the consumer is ultimately interested in trust, right?” said Christina Ferraz, founder and head consultant of marketing agency Thirty6five.\u003c/p>\n\u003cp>“That trust with the brand is what’s going to make them invest in the brand. When they see that that brand is doing what they want,” they said.\u003c/p>\n\u003ch3>In a social media world, brands are being held accountable\u003c/h3>\n\u003cp>So far in 2021, large brands are continuing their commitment to invest more of their budgets in minority-owned companies.\u003c/p>\n\u003cp>[aside postid='arts_13898881']General Motors \u003ca href=\"https://plants.gm.com/media/us/en/gm/home.detail.html/content/Pages/news/us/en/2021/apr/0423-gm.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced in April\u003c/a> significant changes to its model for partnering with diverse-owned and diverse-targeted media—allocating 2% of its ad spending in Black-owned media in 2021, and 4% in 2022, with a goal of reaching 8% by 2025.\u003c/p>\n\u003cp>And in June, Coca-Cola pledged to double its ad spending with minority-owned media, saying it will be five times higher in 2021 than a year earlier, \u003ca href=\"https://www.coca-colacompany.com/press-releases/minority-owned-media-spending\" target=\"_blank\" rel=\"noopener noreferrer\">according to a news release.\u003c/a>\u003c/p>\n\u003cp>Ferraz says that in the social-media era, companies and their reputations with diverse consumers are in increasingly intense spotlight.\u003c/p>\n\u003cp>“Brands now have to be held accountable in a way that they’ve never been held accountable before,” they said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>McDonald’s is among NPR’s financial supporters.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Brands+Reach+For+Diverse+Customers%2C+McDonald%27s+Launches+A+Saweetie+Celebrity+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watch out folks: This summer may just be getting a little bit \u003cem>icy\u003c/em>.\u003c/p>\n\u003cp>Multi-platinum rapper Saweetie, who rose to fame with her hit single “Icy Girl,” is teaming up with McDonald’s to bring a little twist to her favorite menu order for her fans. Starting this week, customers across the United States can order “The Saweetie Meal,” featuring a few of the fast-food chain’s signature items—and a “Saweetie ‘N Sour” sauce.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“McDonald’s and I run deep—from growing up back in Hayward, California, all through my college days—so I had to bring my icy gang in on my all-time favorites,” Saweetie, whose real name is Diamonté Harper, said\u003ca href=\"https://www.prnewswire.com/news-releases/saweetie-taps-in-for-a-new-collab-with-mcdonalds-usa-unveiling-her-signature-order-301343969.html\" target=\"_blank\" rel=\"noopener noreferrer\"> in a news release\u003c/a>.\u003c/p>\n\u003cp>The company’s partnership with the rapper is just the latest example of major brands, from Adidas to Cadillac, reaching out to diverse consumers, as the nation continues to recover from the racial turmoil following George Floyd’s murder last summer.\u003c/p>\n\u003ch3>Saweetie’s promotion joins a variety of diverse artists\u003c/h3>\n\u003cp>Saweetie marks the first female musician, and the first African-American female musician, to have a celebrity menu collaboration with McDonald’s since the company kicked off its \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.alistair-btsmeal.html\" target=\"_blank\" rel=\"noopener noreferrer\">Famous Orders program in 2020\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Previous limited-time meals introduced by the company featured a wide variety of celebrities, including last September’s meal with rapper \u003ca href=\"https://www.npr.org/2020/09/17/913880991/mcdonalds-runs-low-on-ingredients-for-travis-scott-quarter-pounder\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>, last October’s meal with reggaeton artist\u003ca href=\"https://www.npr.org/sections/altlatino/2018/05/24/613004703/j-balvin-wont-settle-for-anything-less-than-world-domination\" target=\"_blank\" rel=\"noopener noreferrer\"> J Balvin\u003c/a> and, most recently, this summer’s meal with the \u003ca href=\"https://www.npr.org/2021/05/27/1000786862/k-pop-group-bts-and-mcdonalds-launch-exclusive-meal-and-clothing-line\" target=\"_blank\" rel=\"noopener noreferrer\">South Korean pop band BTS\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The celebrity-inspired meals have been a hit for the fast-food chain. McDonald’s President and CEO Chris Kempczinski hinted this month that more celebrity meals may be coming, according to \u003cem>\u003ca href=\"https://www.usatoday.com/story/money/food/2021/07/29/mcdonalds-saweetie-menu-meal-celebrity-famous-orders/5409895001/\" target=\"_blank\" rel=\"noopener noreferrer\">USA Today\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In May, McDonald’s announced \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.diverse-owned-media.html\">new investments in diverse-owned media \u003c/a>content for the company in an effort to further reflect its diverse customers, workers and communities in its marketing.\u003c/p>\n\u003cp>Over the next four years, the company says it will allocate advertising dollars to diverse-owned media companies, production houses and content creators. With Black-owned properties specifically, McDonald’s says its diverse-owned media partners will increase from 2% to 5% of the company’s national advertising spending over time.\u003c/p>\n\u003ch3>Representation of diversity is on the rise among major brands\u003c/h3>\n\u003cp>In the past year, many brands and companies have become noticeably more inclusive, featuring more Black and other minorities in their ads and marketing materials as a way to take a stand against racism.\u003c/p>\n\u003cp>Following George Floyd’s murder last May, companies across the globe began issuing various calls to action—including more diversity in advertising, increased spending on diverse companies and investing a greater amount of money in minority-owned media companies—in an effort to connect with Black and brown consumers.\u003c/p>\n\u003cp>“With the uprising and the advocacy and the demands after the murder of George Floyd, really there’s been a spotlight shining on the importance of highlighting and making space for Black people, specifically Black women,” said Alfredo Del Cid, head of learning and development at Collective, a diversity, equity and inclusion consulting firm.\u003c/p>\n\u003cp>A number of major brands have struck deals with major Black celebrities in an effort to maintain and expand their consumers of color.\u003c/p>\n\u003cp>Earlier this year, Uber Eats partnered with \u003ca href=\"https://adage.com/creativity/work/simone-biles-and-jonathan-van-ness-are-duo-you-never-realized-you-needed-uber-eats-matchup-ads/2288491\" target=\"_blank\" rel=\"noopener noreferrer\">Olympian Simone Biles\u003c/a>, featuring the star gymnast in its ads and TV commercials around the time of the Tokyo Olympics.\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/6VKeiNjM-AM'\n title='//www.youtube.com/embed/6VKeiNjM-AM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://media.cadillac.com/media/us/en/cadillac/vehicles/ct4-v/2021.detail.html/content/Pages/news/us/en/2020/sep/0930-cadillac-technologies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac partnered with award-winning actress\u003c/a> Regina King, naming her a brand ambassador and the star for its campaign for the newest line of the Escalade SUV.\u003c/p>\n\u003cp>And \u003ca href=\"https://news.adidas.com/originals/ivy-park-rodeo--fourth-ivy-park-collection-with-beyonc-/s/2fc39fb5-18b9-45bb-a0de-045df1212125\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé partnered with Adidas\u003c/a> to launch her “Ivy Park” clothing collection.\u003c/p>\n\u003cp>“There’s all of these ways that these partnerships are coming together that influence the consumer—because the consumer is ultimately interested in trust, right?” said Christina Ferraz, founder and head consultant of marketing agency Thirty6five.\u003c/p>\n\u003cp>“That trust with the brand is what’s going to make them invest in the brand. When they see that that brand is doing what they want,” they said.\u003c/p>\n\u003ch3>In a social media world, brands are being held accountable\u003c/h3>\n\u003cp>So far in 2021, large brands are continuing their commitment to invest more of their budgets in minority-owned companies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>General Motors \u003ca href=\"https://plants.gm.com/media/us/en/gm/home.detail.html/content/Pages/news/us/en/2021/apr/0423-gm.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced in April\u003c/a> significant changes to its model for partnering with diverse-owned and diverse-targeted media—allocating 2% of its ad spending in Black-owned media in 2021, and 4% in 2022, with a goal of reaching 8% by 2025.\u003c/p>\n\u003cp>And in June, Coca-Cola pledged to double its ad spending with minority-owned media, saying it will be five times higher in 2021 than a year earlier, \u003ca href=\"https://www.coca-colacompany.com/press-releases/minority-owned-media-spending\" target=\"_blank\" rel=\"noopener noreferrer\">according to a news release.\u003c/a>\u003c/p>\n\u003cp>Ferraz says that in the social-media era, companies and their reputations with diverse consumers are in increasingly intense spotlight.\u003c/p>\n\u003cp>“Brands now have to be held accountable in a way that they’ve never been held accountable before,” they said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>McDonald’s is among NPR’s financial supporters.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Brands+Reach+For+Diverse+Customers%2C+McDonald%27s+Launches+A+Saweetie+Celebrity+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update (Aug. 12, 2021, 10:32 pm PT):\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Britney Spears’ father said in a court filing Thursday that he is planning to step down from the conservatorship that has controlled her life and money for 13 years, but his departure is not imminent.\u003c/em>\u003c/p>\n\u003cp>\u003cem>James Spears filed legal documents saying he will step down after several lingering issues are resolved. The document gives no timetable for his resignation from his role helping oversee his daughter’s finances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Those matters include the next judicial review of the pop singer’s finances, which has been delayed by months of public and legal wrangling over James Spears’ role and the legitimacy of the conservatorship.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Britney Spears’ father agreed Thursday to step down from the conservatorship that has controlled her life and money for 13 years, according to reports.\u003c/p>\n\u003cp>[aside postid='arts_13899436']Several outlets including celebrity website TMZ and CNN reported that James Spears filed legal documents saying that while there are no grounds for his removal, he will step down. The decision comes after months of public and legal wrangling by his daughter and, in recent weeks, her new attorney.\u003c/p>\n\u003cp>The documents say that he is “the unremitting target of unjustified attacks” but “he does not believe that a public battle with his daughter over his continuing service as her conservator would be in her best interests.”\u003c/p>\n\u003cp>The filing says James Spears will fight the petition to force him out, but will work with the court and Britney Spears’ attorney Matthew Rosengart to “prepare for an orderly transition to a new conservator.”\u003c/p>\n\u003cp>“We are pleased that Mr. Spears and his lawyer have today conceded in a filing that he must be removed,” Rosengart said in a statement. “It is vindication for Britney.”\u003c/p>\n\u003cp>For most of the existence of the conservatorship, which was established in 2008, James Spears oversaw his daughter’s personal affairs and money. In 2019, he stepped down as the so-called conservator of her person, and maintained control of her finances.\u003c/p>\n\u003cp>[aside postid='arts_13899317']He was nevertheless the target of much of his daughter’s ire in a pair of speeches before the court in June and July, in which she called the conservatorship “abusive.” Spears in her June remarks said she had been required to use an intrauterine device for birth control, take medications against her will and prevented from getting married, having another child or even riding in her boyfriend’s car unsupervised.\u003c/p>\n\u003cp>“This conservatorship is doing me way more harm than good,” the 39-year-old Spears said at the time. “I deserve to have a life.”\u003c/p>\n\u003cp>James Spears was fighting to remain in control in court filings as recently as last week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "After 13 years, multiple fan campaigns to #FreeBritney, and heartfelt pleas by the pop star, James Spears is stepping down.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update (Aug. 12, 2021, 10:32 pm PT):\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Britney Spears’ father said in a court filing Thursday that he is planning to step down from the conservatorship that has controlled her life and money for 13 years, but his departure is not imminent.\u003c/em>\u003c/p>\n\u003cp>\u003cem>James Spears filed legal documents saying he will step down after several lingering issues are resolved. The document gives no timetable for his resignation from his role helping oversee his daughter’s finances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Those matters include the next judicial review of the pop singer’s finances, which has been delayed by months of public and legal wrangling over James Spears’ role and the legitimacy of the conservatorship.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was nevertheless the target of much of his daughter’s ire in a pair of speeches before the court in June and July, in which she called the conservatorship “abusive.” Spears in her June remarks said she had been required to use an intrauterine device for birth control, take medications against her will and prevented from getting married, having another child or even riding in her boyfriend’s car unsupervised.\u003c/p>\n\u003cp>“This conservatorship is doing me way more harm than good,” the 39-year-old Spears said at the time. “I deserve to have a life.”\u003c/p>\n\u003cp>James Spears was fighting to remain in control in court filings as recently as last week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Call it fate or an unfortunate coincidence that Dr. Seuss’ \u003cem>The Lorax\u003c/em> celebrates its 50th anniversary the same week the United Nations releases an urgent report on the \u003ca href=\"https://www.npr.org/2021/08/09/1025898341/major-report-warns-climate-change-is-accelerating-and-humans-must-cut-emissions-\" target=\"_blank\" rel=\"noopener noreferrer\">dire consequences of human-induced climate change.\u003c/a> The conflict between the industrious, polluting Once-ler and the feisty Lorax, who “speaks for the trees,” feels more prescient than ever.\u003c/p>\n\u003cblockquote>\u003cp>“Once-ler!” he cried with a cruffulous croak.\u003cbr>\n“Once-ler! You’re making such smogulous smoke!\u003cbr>\nMy poor Swomee-Swans… why, they can’t sing a note!\u003cbr>\nNo one can sing who has smog in his throat.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13865507']“He wanted a book that captured the effects of pollution on ecosystems and I would say it was really ahead of its time,” says anthropologist and evolutionary biologist Nathaniel Dominy, who teaches at Dartmouth. “The different species disappear from the narrative in succession,” he notes. “The Bar-ba-loots leave because they run out of food. The Swomee-Swans leave because the air is polluted. The humming fish leave because the water’s polluted. He’s describing what we would now call a ‘\u003ca href=\"https://www.nature.com/scitable/knowledge/library/trophic-cascades-across-diverse-plant-ecosystems-80060347/\" target=\"_blank\" rel=\"noopener noreferrer\">trophic cascade\u003c/a>,’ and for me, as a scientist, I just find that genius that he anticipated that concept by a decade or more.”\u003c/p>\n\u003cp>While it might be a children’s book, \u003cem>The Lorax\u003c/em>‘s ominous message of what happens when you harvest nature to death made it an icon of the environmental movement, spawning \u003ca href=\"https://www.npr.org/2009/07/29/111287573/the-next-dr-seuss-movie-the-lorax\" target=\"_blank\" rel=\"noopener noreferrer\">movie\u003c/a> and stage adaptations not to mention a gazillion school \u003ca href=\"https://www.sustainabilitysuperheroes.org/meet-the-lorax.html\" target=\"_blank\" rel=\"noopener noreferrer\">projects\u003c/a>.\u003c/p>\n\u003cp>With its mostly gray, scrappy, barren images, the story stood in sharp contrast to other books by Theodor Geisel (aka Dr. Seuss) such as \u003cem>The Cat in the Hat \u003c/em>and \u003cem>Green Eggs and Ham\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13901164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg\" alt=\"'The Lorax' by Dr. Seuss.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1020x1383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1133x1536.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1511x2048.jpg 1511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1920x2603.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-scaled.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lorax’ by Dr. Seuss. \u003ccite>(Random House Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The environmental movement takes root\u003c/h3>\n\u003cp>Geisel began writing \u003cem>The Lorax\u003c/em> at a time of growing concern about the environment. \u003ca href=\"https://www.smithsonianmag.com/history/cuyahoga-river-caught-fire-least-dozen-times-no-one-cared-until-1969-180972444/\" target=\"_blank\" rel=\"noopener noreferrer\">Images\u003c/a> of an oil-slicked river in Cleveland catching fire in 1969, the first \u003ca href=\"https://www.npr.org/2020/04/22/840542049/earth-day-at-50-climate-activists-go-digital-amid-pandemic-shutdown\" target=\"_blank\" rel=\"noopener noreferrer\">Earth Day\u003c/a> in 1970 and other events helped build the movement and put it front and center. According to Geisel biographer Donald Pease, the author believed in the movement but didn’t care for its rhetoric. He thought it was “preachy and bossy,” says Pease.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Geisel was also furious about construction going on in his La Jolla, Calif., neighborhood. “They were destroying quite beautiful eucalyptus trees, and he wanted to do something about this, and he had to find a way to transform what he understood to be a propaganda-oriented perspective on these matters into a fable that even children could understand.” But, Pease explains, “he also was confronted with writer’s block.”\u003c/p>\n\u003ch3>Inspiration strikes during a trip to Kenya\u003c/h3>\n\u003cp>His wife, Audrey Geisel, suggested they go on a trip to the \u003ca href=\"https://www.fairmont.com/mount-kenya-safari/?goto=fiche_hotel&code_hotel=A5F4&merchantid=seo-maps-KE-A5F4&sourceid=aw-cen&utm_medium=seo+maps&utm_source=google+Maps&utm_campaign=seo+maps&y_source=1_MTIzNjE0MzUtNzE1LWxvY2F0aW9uLmdvb2dsZV93ZWJzaXRlX292ZXJyaWRl\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Kenya Safari Club\u003c/a>. While they were there, “he caught a view in the mountains of elephants crossing,” says Pease. “He said afterward ‘the logjam broke’ and he was able to write 90% of \u003cem>The Lorax\u003c/em> that afternoon.”\u003c/p>\n\u003cp>“It is built on one of the most beautiful landscapes with a spectacular view of Mount Kenya so I’m not surprised Dr. Seuss was inspired by that,” says Wanjira Mathai, vice president and regional director for Africa at The World Resources Institute.\u003c/p>\n\u003cp>What can happen to that beauty is made vividly clear by the end of the story. The greedy Once-ler ravages the land by chopping down Truffula Trees. He needs them to make his “thneed” garment.\u003c/p>\n\u003cp>The Lorax is apoplectic.\u003c/p>\n\u003cblockquote>\u003cp>“I speak for the trees, for the trees have no tongues.\u003cbr>\nAnd I’m asking you, sir, at the top of my lungs” —\u003cbr>\nhe was very upset as he shouted and puffed —\u003cbr>\n\u003cem>“What’s that THING you’ve made out of my Truffula tuft?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Spoiler alert: the land where once upon a time, “the grass was still green and the pond was still wet and the clouds were still clean” is destroyed by the Once-ler’s insatiable appetite to sell more “thneeds.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8V06ZOQuo0k\u003c/p>\n\u003ch3>“Unless someone like you cares a whole awful lot …”\u003c/h3>\n\u003cp>The parallels with this week’s U.N. climate report are stark. “The report paints a very sobering picture of the unforgiving, unimaginable world we have in store if our addiction to burning fossil fuels and destroying forests continues,” says Mathai. She says Dr. Seuss’ eco-parable is a “powerful depiction” of this point, despite being written so many years ago. “The Thneed—read fossil fuels—is something ‘everyone needs.’ And sadly with the Lorax, the damage was done and the environment that was bustling with life, destroyed.”\u003c/p>\n\u003cp>\u003cem>The Lorax\u003c/em> ends with a kind of challenge.\u003c/p>\n\u003cblockquote>\u003cp>UNLESS someone like you\u003cbr>\ncares a whole awful lot,\u003cbr>\nnothing’s going to get better.\u003cbr>\nIt’s not.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13893468']“He kind of says ‘I told you so,’ like, I told you this was going to be bad and now it’s bad,” says Mark Gozonsky, a writer and high school English teacher in Los Angeles whose students have \u003ca href=\"https://lithub.com/teaching-climate-change-with-the-lorax-and-the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed\u003c/a> \u003cem>The Lorax\u003c/em> in the context of global warming. Like Mathai, Gozonsky is struck by the parallels with this week’s report. “The book ends on a question mark … ‘Well, what are you going to do about it?’ And that’s the very question mark that we land on today,” he says. So many years later scientists are still warning, “You’ve got … a couple of years to make a difference … Time, as we all know, is ticking away.”\u003c/p>\n\u003ch3>Finding hope in the last seed left\u003c/h3>\n\u003cp>Mathai still believes it’s important to be hopeful. Her mother was a little like the Lorax of Kenya, the very place that so inspired Geisel’s story. Nobel Peace Prize winner \u003ca href=\"https://www.npr.org/sections/thetwo-way/2011/09/26/140808866/nobel-laureate-wangari-maathai-a-global-icon-of-conservation\" target=\"_blank\" rel=\"noopener noreferrer\">Wangari Maathai\u003c/a> founded The Green Belt movement, which is credited with planting more than 51 million trees across the country, part of a campaign to end poverty.\u003c/p>\n\u003cp>“My mother … always talked about trees as a symbol of hope and so \u003cem>The Lorax\u003c/em> in many ways was that and remains that for me. That each of us can be such a potent agent of change. We can be custodians of hope.”\u003c/p>\n\u003cp>Just as she read \u003cem>The Lorax\u003c/em> when she was a girl, Mathai reads it to her two daughters today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The Once-ler saved that one seed and waited for someone who cared to come along. It will take each of us doing our part to reverse what is coming. The latest report indicates we have even less time to turn things around,” she says. Mathai takes heart that “we have a number of ‘Loraxes’ spreading the word and sounding the alarm.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lorax%27+Warned+Us+50+Years+Ago%2C+But+We+Didn%27t+Listen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call it fate or an unfortunate coincidence that Dr. Seuss’ \u003cem>The Lorax\u003c/em> celebrates its 50th anniversary the same week the United Nations releases an urgent report on the \u003ca href=\"https://www.npr.org/2021/08/09/1025898341/major-report-warns-climate-change-is-accelerating-and-humans-must-cut-emissions-\" target=\"_blank\" rel=\"noopener noreferrer\">dire consequences of human-induced climate change.\u003c/a> The conflict between the industrious, polluting Once-ler and the feisty Lorax, who “speaks for the trees,” feels more prescient than ever.\u003c/p>\n\u003cblockquote>\u003cp>“Once-ler!” he cried with a cruffulous croak.\u003cbr>\n“Once-ler! You’re making such smogulous smoke!\u003cbr>\nMy poor Swomee-Swans… why, they can’t sing a note!\u003cbr>\nNo one can sing who has smog in his throat.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He wanted a book that captured the effects of pollution on ecosystems and I would say it was really ahead of its time,” says anthropologist and evolutionary biologist Nathaniel Dominy, who teaches at Dartmouth. “The different species disappear from the narrative in succession,” he notes. “The Bar-ba-loots leave because they run out of food. The Swomee-Swans leave because the air is polluted. The humming fish leave because the water’s polluted. He’s describing what we would now call a ‘\u003ca href=\"https://www.nature.com/scitable/knowledge/library/trophic-cascades-across-diverse-plant-ecosystems-80060347/\" target=\"_blank\" rel=\"noopener noreferrer\">trophic cascade\u003c/a>,’ and for me, as a scientist, I just find that genius that he anticipated that concept by a decade or more.”\u003c/p>\n\u003cp>While it might be a children’s book, \u003cem>The Lorax\u003c/em>‘s ominous message of what happens when you harvest nature to death made it an icon of the environmental movement, spawning \u003ca href=\"https://www.npr.org/2009/07/29/111287573/the-next-dr-seuss-movie-the-lorax\" target=\"_blank\" rel=\"noopener noreferrer\">movie\u003c/a> and stage adaptations not to mention a gazillion school \u003ca href=\"https://www.sustainabilitysuperheroes.org/meet-the-lorax.html\" target=\"_blank\" rel=\"noopener noreferrer\">projects\u003c/a>.\u003c/p>\n\u003cp>With its mostly gray, scrappy, barren images, the story stood in sharp contrast to other books by Theodor Geisel (aka Dr. Seuss) such as \u003cem>The Cat in the Hat \u003c/em>and \u003cem>Green Eggs and Ham\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13901164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg\" alt=\"'The Lorax' by Dr. Seuss.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1020x1383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1133x1536.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1511x2048.jpg 1511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1920x2603.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-scaled.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lorax’ by Dr. Seuss. \u003ccite>(Random House Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The environmental movement takes root\u003c/h3>\n\u003cp>Geisel began writing \u003cem>The Lorax\u003c/em> at a time of growing concern about the environment. \u003ca href=\"https://www.smithsonianmag.com/history/cuyahoga-river-caught-fire-least-dozen-times-no-one-cared-until-1969-180972444/\" target=\"_blank\" rel=\"noopener noreferrer\">Images\u003c/a> of an oil-slicked river in Cleveland catching fire in 1969, the first \u003ca href=\"https://www.npr.org/2020/04/22/840542049/earth-day-at-50-climate-activists-go-digital-amid-pandemic-shutdown\" target=\"_blank\" rel=\"noopener noreferrer\">Earth Day\u003c/a> in 1970 and other events helped build the movement and put it front and center. According to Geisel biographer Donald Pease, the author believed in the movement but didn’t care for its rhetoric. He thought it was “preachy and bossy,” says Pease.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Geisel was also furious about construction going on in his La Jolla, Calif., neighborhood. “They were destroying quite beautiful eucalyptus trees, and he wanted to do something about this, and he had to find a way to transform what he understood to be a propaganda-oriented perspective on these matters into a fable that even children could understand.” But, Pease explains, “he also was confronted with writer’s block.”\u003c/p>\n\u003ch3>Inspiration strikes during a trip to Kenya\u003c/h3>\n\u003cp>His wife, Audrey Geisel, suggested they go on a trip to the \u003ca href=\"https://www.fairmont.com/mount-kenya-safari/?goto=fiche_hotel&code_hotel=A5F4&merchantid=seo-maps-KE-A5F4&sourceid=aw-cen&utm_medium=seo+maps&utm_source=google+Maps&utm_campaign=seo+maps&y_source=1_MTIzNjE0MzUtNzE1LWxvY2F0aW9uLmdvb2dsZV93ZWJzaXRlX292ZXJyaWRl\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Kenya Safari Club\u003c/a>. While they were there, “he caught a view in the mountains of elephants crossing,” says Pease. “He said afterward ‘the logjam broke’ and he was able to write 90% of \u003cem>The Lorax\u003c/em> that afternoon.”\u003c/p>\n\u003cp>“It is built on one of the most beautiful landscapes with a spectacular view of Mount Kenya so I’m not surprised Dr. Seuss was inspired by that,” says Wanjira Mathai, vice president and regional director for Africa at The World Resources Institute.\u003c/p>\n\u003cp>What can happen to that beauty is made vividly clear by the end of the story. The greedy Once-ler ravages the land by chopping down Truffula Trees. He needs them to make his “thneed” garment.\u003c/p>\n\u003cp>The Lorax is apoplectic.\u003c/p>\n\u003cblockquote>\u003cp>“I speak for the trees, for the trees have no tongues.\u003cbr>\nAnd I’m asking you, sir, at the top of my lungs” —\u003cbr>\nhe was very upset as he shouted and puffed —\u003cbr>\n\u003cem>“What’s that THING you’ve made out of my Truffula tuft?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Spoiler alert: the land where once upon a time, “the grass was still green and the pond was still wet and the clouds were still clean” is destroyed by the Once-ler’s insatiable appetite to sell more “thneeds.”\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/8V06ZOQuo0k'\n title='//www.youtube.com/embed/8V06ZOQuo0k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>“Unless someone like you cares a whole awful lot …”\u003c/h3>\n\u003cp>The parallels with this week’s U.N. climate report are stark. “The report paints a very sobering picture of the unforgiving, unimaginable world we have in store if our addiction to burning fossil fuels and destroying forests continues,” says Mathai. She says Dr. Seuss’ eco-parable is a “powerful depiction” of this point, despite being written so many years ago. “The Thneed—read fossil fuels—is something ‘everyone needs.’ And sadly with the Lorax, the damage was done and the environment that was bustling with life, destroyed.”\u003c/p>\n\u003cp>\u003cem>The Lorax\u003c/em> ends with a kind of challenge.\u003c/p>\n\u003cblockquote>\u003cp>UNLESS someone like you\u003cbr>\ncares a whole awful lot,\u003cbr>\nnothing’s going to get better.\u003cbr>\nIt’s not.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He kind of says ‘I told you so,’ like, I told you this was going to be bad and now it’s bad,” says Mark Gozonsky, a writer and high school English teacher in Los Angeles whose students have \u003ca href=\"https://lithub.com/teaching-climate-change-with-the-lorax-and-the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed\u003c/a> \u003cem>The Lorax\u003c/em> in the context of global warming. Like Mathai, Gozonsky is struck by the parallels with this week’s report. “The book ends on a question mark … ‘Well, what are you going to do about it?’ And that’s the very question mark that we land on today,” he says. So many years later scientists are still warning, “You’ve got … a couple of years to make a difference … Time, as we all know, is ticking away.”\u003c/p>\n\u003ch3>Finding hope in the last seed left\u003c/h3>\n\u003cp>Mathai still believes it’s important to be hopeful. Her mother was a little like the Lorax of Kenya, the very place that so inspired Geisel’s story. Nobel Peace Prize winner \u003ca href=\"https://www.npr.org/sections/thetwo-way/2011/09/26/140808866/nobel-laureate-wangari-maathai-a-global-icon-of-conservation\" target=\"_blank\" rel=\"noopener noreferrer\">Wangari Maathai\u003c/a> founded The Green Belt movement, which is credited with planting more than 51 million trees across the country, part of a campaign to end poverty.\u003c/p>\n\u003cp>“My mother … always talked about trees as a symbol of hope and so \u003cem>The Lorax\u003c/em> in many ways was that and remains that for me. That each of us can be such a potent agent of change. We can be custodians of hope.”\u003c/p>\n\u003cp>Just as she read \u003cem>The Lorax\u003c/em> when she was a girl, Mathai reads it to her two daughters today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Once-ler saved that one seed and waited for someone who cared to come along. It will take each of us doing our part to reverse what is coming. The latest report indicates we have even less time to turn things around,” she says. Mathai takes heart that “we have a number of ‘Loraxes’ spreading the word and sounding the alarm.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lorax%27+Warned+Us+50+Years+Ago%2C+But+We+Didn%27t+Listen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "All the Reasons People are Mad About Mayim Bialik and Mike Richards Hosting ‘Jeopardy!’",
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"content": "\u003cp>Twitter exploded on Wednesday afternoon after Mayim Bialik (Blossom/Amy Farrah Fowler/real-life scientist) and Mike Richards (non-famous guy) were finally announced as the new, permanent hosts of \u003cem>Jeopardy!\u003c/em>. This might be the first time a cerebral 57-year-old gameshow has caused such an online firestorm, but the reasons for the controversy go far beyond the impossible task ABC had of filling Alex Trebek’s shoes.\u003c/p>\n\u003cp>[aside postid='arts_13889643']Since the universally beloved \u003cem>Jeopardy!\u003c/em> host died in November 2020, after 37 years of helming the show, a great number of temporary hosts have been cycled in and out to keep \u003cem>Jeopardy!\u003c/em> rolling. \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Jennings\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Jennings\u003c/a>, the current record holder for the longest winning streak on the show was the first, doing a six-week run. Then a hodgepodge of guest hosts followed. There were journalists like Katie Couric, Anderson Cooper and Dr. Sanjay Gupta; talk-show hosts including Dr. Oz, Savannah Guthrie and Robin Roberts. There were even a couple of sports types—quarterback Aaron Rodgers and Fox sportscaster Joe Buck both gave hosting a try.\u003c/p>\n\u003cp>But out of all of the temporary hosts, a clear fan favorite emerged: \u003cem>Reading Rainbow\u003c/em>’s LeVar Burton. Not only does Burton have a warm-but-authoritative tone that’s similar to Trebek’s, he was not \u003ca href=\"https://twitter.com/levarburton/status/316774267733815296\" target=\"_blank\" rel=\"noopener noreferrer\">at all quiet\u003c/a> about his desire to take over the position. When fans found out he didn’t get the job this week—even after over \u003ca href=\"https://www.change.org/p/sony-pictures-entertainment-levar-burton-should-be-the-next-host-of-jeopardy?use_react=false\" target=\"_blank\" rel=\"noopener noreferrer\">267,000 of them\u003c/a> signed a petition to make it so—many vented on Twitter.\u003c/p>\n\u003cp>https://twitter.com/812filmreviews/status/1425502971274698755\u003c/p>\n\u003cp>https://twitter.com/alex_abads/status/1425520632901603333\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/ava/status/1425505571432665092\u003c/p>\n\u003cp>To make matters worse, Mayim Bialik also received swift backlash as soon as it became clear that she would be hosting primetime \u003cem>Jeopardy!\u003c/em> episodes and new spinoffs. Critics focused in on rumors that the \u003cem>Big Bang Theory\u003c/em> star is both an anti-vaxxer and a shamer of other women.\u003c/p>\n\u003cp>https://twitter.com/hennypennykenny/status/1425513711100252161\u003c/p>\n\u003cp>In truth, Bialik has \u003ca href=\"https://www.youtube.com/watch?v=ov_Jw02uHGY\" target=\"_blank\" rel=\"noopener noreferrer\">received the COVID-19\u003c/a> vaccine, along with her children. She also released \u003ca href=\"https://www.youtube.com/watch?v=ov_Jw02uHGY\" target=\"_blank\" rel=\"noopener noreferrer\">a nine-minute video\u003c/a> last October clarifying her views on vaccines. “I wrote a book about 10 years ago about my experience parenting,” she notes in the clip. “And at the time, my children had not received the typical schedule of vaccines. But I have never—not once—said that vaccines are not valuable, not useful, or not necessary. Because they are.” She continues, “The truth is, I delayed vaccinations for reasons you don’t necessarily get to know about.”\u003c/p>\n\u003cp>https://twitter.com/summeranne/status/1425526199065976838\u003c/p>\n\u003cp>The perception of Bialik as a victim-blamer traces back to a \u003cem>New York Times\u003c/em> article she wrote in October 2017, titled “\u003ca href=\"https://www.nytimes.com/2017/10/13/opinion/mayim-bialik-feminist-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">Being a Feminist in Harvey Weinstein’s World\u003c/a>.” In it, she detailed the downsides of not being conventionally beautiful in the public eye and entertainment industry, but went on to say that it also made her less of a target for predatory men.\u003c/p>\n\u003cp>In the article, Bialik was careful to note that, “Nothing—absolutely nothing—excuses men for assaulting or abusing women,” but she also made some clear judgments about women who don’t dress as chastely as her. “I still make choices every day as a 41-year-old actress,” she wrote, “that I think of as self-protecting and wise. I have decided that my sexual self is best reserved for private situations … I dress modestly. I don’t act flirtatiously with men as a policy.”\u003c/p>\n\u003cp>[aside postid='arts_13883658']Even worse, Bialik implied that more conventionally beautiful actors must be living emptier, more reckless lives than her. “If you are beautiful and sexy, terrific. But having others celebrate your physical beauty is not the way to lead a meaningful life. And if—like me—you’re not a perfect 10, know that there are people out there who will find you stunning, irresistible and worthy of attention, respect and love. The best part is you don’t have to go to a hotel room or a casting couch to find them.”\u003c/p>\n\u003cp>The controversial things Bialik said back then weren’t the only reason she was the number one trending topic on Twitter on Wednesday afternoon. Sony Pictures Television’s decision to hire Richards—\u003cem>Jeopardy!\u003c/em>’s current executive producer—to host the daily syndicated show was interpreted by some as both gross nepotism and a flagrant example of sexism.\u003c/p>\n\u003cp>https://twitter.com/daniellynch/status/1425487786723917833\u003c/p>\n\u003cp>https://twitter.com/cmclymer/status/1425507158653906947\u003c/p>\n\u003cp>https://twitter.com/amandawallwin/status/1425498948798717959\u003c/p>\n\u003cp>Many social media users were quick to bring up the fact that Richards was named in a 2012 lawsuit by Brandi Cochran—a former model on \u003cem>The Price is Right\u003c/em>. During the case, Cochran detailed being harassed, sidelined and discriminated against on the gameshow for being pregnant. She \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/price-is-right-model-wins-393521/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically reported\u003c/a> that Richards, “didn’t talk to her as frequently” once her pregnancy was revealed, and that he also implied “that she would have been one of the models fired had the pregnancy not been secret.” Cochran was ultimately awarded almost $8 million in damages.\u003c/p>\n\u003cp>[aside postid='arts_13889018']The \u003cem>Jeopardy!\u003c/em> hosting job was always going to be a tricky position to fill because of the depth of loss viewers felt with Trebek’s departure. To a lot of observers, LeVar Burton looked like a much better fit, and a less controversial choice than either Richards or Bialik. (Though his \u003ca href=\"https://www.nexttv.com/news/jeopardy-guest-hosts-ratings-how-they-rank\" target=\"_blank\" rel=\"noopener noreferrer\">low ratings\u003c/a> while guest hosting the show have been observed as a factor in not giving him the job, little regard seems to have been given for the fact that he was competing with the Tokyo Olympics for viewers.)\u003c/p>\n\u003cp>In a statement that will in no way ease the concerns of the \u003cem>Jeopardy!\u003c/em> uprising online, Ravi Ahuja—chairman of global television studios and corporate development for Sony Pictures—insists that casting Richards and Bialik was by no means a casual decision. “A senior group of Sony Pictures Television executives pored over footage from every episode,” he said in a statement, “reviewed research from multiple panels and focus groups, and got valuable input from our key partners and \u003cem>Jeopardy! \u003c/em>viewers.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ahuja also noted, “We took this decision incredibly seriously. A tremendous amount of work and deliberation has gone into it, perhaps more than has ever gone into the selection of hosts for a show—deservedly so because it’s \u003cem>Jeopardy!\u003c/em> and we are following the incomparable Alex Trebek.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since the universally beloved \u003cem>Jeopardy!\u003c/em> host died in November 2020, after 37 years of helming the show, a great number of temporary hosts have been cycled in and out to keep \u003cem>Jeopardy!\u003c/em> rolling. \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Jennings\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Jennings\u003c/a>, the current record holder for the longest winning streak on the show was the first, doing a six-week run. Then a hodgepodge of guest hosts followed. There were journalists like Katie Couric, Anderson Cooper and Dr. Sanjay Gupta; talk-show hosts including Dr. Oz, Savannah Guthrie and Robin Roberts. There were even a couple of sports types—quarterback Aaron Rodgers and Fox sportscaster Joe Buck both gave hosting a try.\u003c/p>\n\u003cp>But out of all of the temporary hosts, a clear fan favorite emerged: \u003cem>Reading Rainbow\u003c/em>’s LeVar Burton. Not only does Burton have a warm-but-authoritative tone that’s similar to Trebek’s, he was not \u003ca href=\"https://twitter.com/levarburton/status/316774267733815296\" target=\"_blank\" rel=\"noopener noreferrer\">at all quiet\u003c/a> about his desire to take over the position. When fans found out he didn’t get the job this week—even after over \u003ca href=\"https://www.change.org/p/sony-pictures-entertainment-levar-burton-should-be-the-next-host-of-jeopardy?use_react=false\" target=\"_blank\" rel=\"noopener noreferrer\">267,000 of them\u003c/a> signed a petition to make it so—many vented on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>To make matters worse, Mayim Bialik also received swift backlash as soon as it became clear that she would be hosting primetime \u003cem>Jeopardy!\u003c/em> episodes and new spinoffs. Critics focused in on rumors that the \u003cem>Big Bang Theory\u003c/em> star is both an anti-vaxxer and a shamer of other women.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even worse, Bialik implied that more conventionally beautiful actors must be living emptier, more reckless lives than her. “If you are beautiful and sexy, terrific. But having others celebrate your physical beauty is not the way to lead a meaningful life. And if—like me—you’re not a perfect 10, know that there are people out there who will find you stunning, irresistible and worthy of attention, respect and love. The best part is you don’t have to go to a hotel room or a casting couch to find them.”\u003c/p>\n\u003cp>The controversial things Bialik said back then weren’t the only reason she was the number one trending topic on Twitter on Wednesday afternoon. Sony Pictures Television’s decision to hire Richards—\u003cem>Jeopardy!\u003c/em>’s current executive producer—to host the daily syndicated show was interpreted by some as both gross nepotism and a flagrant example of sexism.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Many social media users were quick to bring up the fact that Richards was named in a 2012 lawsuit by Brandi Cochran—a former model on \u003cem>The Price is Right\u003c/em>. During the case, Cochran detailed being harassed, sidelined and discriminated against on the gameshow for being pregnant. She \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/price-is-right-model-wins-393521/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically reported\u003c/a> that Richards, “didn’t talk to her as frequently” once her pregnancy was revealed, and that he also implied “that she would have been one of the models fired had the pregnancy not been secret.” Cochran was ultimately awarded almost $8 million in damages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Jeopardy!\u003c/em> hosting job was always going to be a tricky position to fill because of the depth of loss viewers felt with Trebek’s departure. To a lot of observers, LeVar Burton looked like a much better fit, and a less controversial choice than either Richards or Bialik. (Though his \u003ca href=\"https://www.nexttv.com/news/jeopardy-guest-hosts-ratings-how-they-rank\" target=\"_blank\" rel=\"noopener noreferrer\">low ratings\u003c/a> while guest hosting the show have been observed as a factor in not giving him the job, little regard seems to have been given for the fact that he was competing with the Tokyo Olympics for viewers.)\u003c/p>\n\u003cp>In a statement that will in no way ease the concerns of the \u003cem>Jeopardy!\u003c/em> uprising online, Ravi Ahuja—chairman of global television studios and corporate development for Sony Pictures—insists that casting Richards and Bialik was by no means a casual decision. “A senior group of Sony Pictures Television executives pored over footage from every episode,” he said in a statement, “reviewed research from multiple panels and focus groups, and got valuable input from our key partners and \u003cem>Jeopardy! \u003c/em>viewers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ahuja also noted, “We took this decision incredibly seriously. A tremendous amount of work and deliberation has gone into it, perhaps more than has ever gone into the selection of hosts for a show—deservedly so because it’s \u003cem>Jeopardy!\u003c/em> and we are following the incomparable Alex Trebek.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amanda Knox: 'Stillwater' Movie Repeats 'Fiction' Pushed By Italian Prosecutor",
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"content": "\u003cp>Amanda Knox—who once spent almost four years in an Italian prison for murder—was long ago exonerated by Italy’s highest court, which ruled that “\u003ca href=\"https://www.theguardian.com/us-news/2015/sep/07/amanda-knox-acquitted-because-of-stunning-flaws-in-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">stunning flaws\u003c/a>” in the police investigation had inappropriately led to Knox’s conviction for the murder of her roommate, British exchange student Meredith Kercher.\u003c/p>\n\u003cp>It’s been 10 years since Knox was freed from that Italian prison. But, despite attempts to move on with her life, the \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">“Amanda Knox saga”\u003c/a> continues to follow her. The new film \u003cem>Stillwater\u003c/em>, which fictionalizes elements of her story, has prompted Knox to speak out about how it feels to lose control of her own narrative.\u003c/p>\n\u003cp>“Whenever I encounter the world, I am constantly in conversation with a horrendous thing that happened, that I had no control over, that I had no agency,” Knox told NPR’s Sarah McCammon in an interview on \u003cem>All Things Considered\u003c/em>. “And the identity of Amanda Knox is always, always, always viewed through that lens.”\u003c/p>\n\u003cp>[aside postid='pop_103508']In the case of \u003cem>Stillwater\u003c/em>, directed by Tom McCarthy and starring Matt Damon, the Knox-inspired character is reimagined as Allison, a college student abroad who is convicted of murdering—and indirectly responsible for the death of—her roommate who is also her lover. The choices made to establish Allison’s character are reminiscent of how Italian prosecutors had \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/03/26/175336714/italian-court-orders-retrial-for-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">presented their case against Knox\u003c/a> when they called Kercher a victim of a drug-fueled sex game gone wrong.\u003c/p>\n\u003cp>“As a storyteller, I firmly believe that art is very much entitled to take from reality, and in fact it always does,” Knox said. “That doesn’t excuse the kinds of ethical considerations in choosing what stories we tell and how we tell them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCarthy told \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a> that he was directly inspired by the Knox story, and couldn’t help but imagine what it would be like to be in Knox’s shoes.\u003c/p>\n\u003cp>Knox’s story, the director and co-writer said, ultimately became a jumping off point for the movie.\u003c/p>\n\u003cp>“We decided, ‘Hey, let’s leave the Amanda Knox case behind,'” McCarthy told the magazine. “But let me take this piece of the story—an American woman studying abroad involved in some kind of sensational crime and she ends up in jail—and fictionalize everything around it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9cq1lPPeMUY\u003c/p>\n\u003cp>But Knox says that McCarthy didn’t completely fictionalize everything; he simply “chose to explicitly repeat the fiction that was invented by my prosecutor.”\u003c/p>\n\u003cp>Nor did McCarthy “do the empathy and effort to reach out” to understand how his re-telling might impact her, she said.\u003c/p>\n\u003cp>“My story is not the sordid trial and saga and the murder, but it is the experience of a person who is swept up in something way bigger than herself that she had nothing to do with, who survives a very harsh prison environment and then who enters into a world that has pre-defined her based on a false premise,” Knox said. “That’s an interesting story. And it’s not the story that \u003cem>Stillwater\u003c/em> told.”\u003c/p>\n\u003cp>After the publication of the \u003cem>Vanity Fair\u003c/em> story last week, Knox criticized the film, \u003ca href=\"https://twitter.com/amandaknox/status/1420871392266911746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">in a Twitter thread \u003c/a>and in an \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/07/amanda-knox-stillwater-matt-damon/619628/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Atlantic \u003c/em>essay\u003c/a>, for profiting off of her name and likeness without her permission.\u003c/p>\n\u003cp>https://twitter.com/amandaknox/status/1420871392266911746?s=20\u003c/p>\n\u003cp>Representatives for McCarthy have yet to respond to NPR’s request for comment. In an interview with \u003ca href=\"https://variety.com/2021/film/features/stillwater-tom-mccarthy-matt-damon-amanda-knox-1235036649/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>, McCarthy said he empathizes with Knox and what she went through. “She has platforms to speak her truth and engage with the media and she is exercising her absolute right to do so,” McCarthy said. “But, by her own account, she has not seen \u003cem>Stillwater\u003c/em> and what she seems to be raising feels very removed from the film we actually made. \u003cem>Stillwater\u003c/em> is a work of fiction and not about her life experience.”\u003c/p>\n\u003cp>In 2008, the Perugia resident Rudy Guede was sentenced to 16 years in prison for Kercher’s murder. Last year, \u003ca href=\"https://www.theguardian.com/world/2020/dec/04/meredith-kerchers-killer-to-complete-sentence-doing-community-service\" target=\"_blank\" rel=\"noopener noreferrer\">a court said\u003c/a> he could finish the rest of his sentence by doing community service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tyler Bartlam and Natalie Friedman Winston produced and edited the audio version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amanda+Knox%3A+%27Stillwater%27+Movie+Repeats+%27Fiction%27+Pushed+By+Italian+Prosecutor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amanda Knox—who once spent almost four years in an Italian prison for murder—was long ago exonerated by Italy’s highest court, which ruled that “\u003ca href=\"https://www.theguardian.com/us-news/2015/sep/07/amanda-knox-acquitted-because-of-stunning-flaws-in-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">stunning flaws\u003c/a>” in the police investigation had inappropriately led to Knox’s conviction for the murder of her roommate, British exchange student Meredith Kercher.\u003c/p>\n\u003cp>It’s been 10 years since Knox was freed from that Italian prison. But, despite attempts to move on with her life, the \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">“Amanda Knox saga”\u003c/a> continues to follow her. The new film \u003cem>Stillwater\u003c/em>, which fictionalizes elements of her story, has prompted Knox to speak out about how it feels to lose control of her own narrative.\u003c/p>\n\u003cp>“Whenever I encounter the world, I am constantly in conversation with a horrendous thing that happened, that I had no control over, that I had no agency,” Knox told NPR’s Sarah McCammon in an interview on \u003cem>All Things Considered\u003c/em>. “And the identity of Amanda Knox is always, always, always viewed through that lens.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the case of \u003cem>Stillwater\u003c/em>, directed by Tom McCarthy and starring Matt Damon, the Knox-inspired character is reimagined as Allison, a college student abroad who is convicted of murdering—and indirectly responsible for the death of—her roommate who is also her lover. The choices made to establish Allison’s character are reminiscent of how Italian prosecutors had \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/03/26/175336714/italian-court-orders-retrial-for-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">presented their case against Knox\u003c/a> when they called Kercher a victim of a drug-fueled sex game gone wrong.\u003c/p>\n\u003cp>“As a storyteller, I firmly believe that art is very much entitled to take from reality, and in fact it always does,” Knox said. “That doesn’t excuse the kinds of ethical considerations in choosing what stories we tell and how we tell them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCarthy told \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a> that he was directly inspired by the Knox story, and couldn’t help but imagine what it would be like to be in Knox’s shoes.\u003c/p>\n\u003cp>Knox’s story, the director and co-writer said, ultimately became a jumping off point for the movie.\u003c/p>\n\u003cp>“We decided, ‘Hey, let’s leave the Amanda Knox case behind,'” McCarthy told the magazine. “But let me take this piece of the story—an American woman studying abroad involved in some kind of sensational crime and she ends up in jail—and fictionalize everything around it.”\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/9cq1lPPeMUY'\n title='//www.youtube.com/embed/9cq1lPPeMUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Knox says that McCarthy didn’t completely fictionalize everything; he simply “chose to explicitly repeat the fiction that was invented by my prosecutor.”\u003c/p>\n\u003cp>Nor did McCarthy “do the empathy and effort to reach out” to understand how his re-telling might impact her, she said.\u003c/p>\n\u003cp>“My story is not the sordid trial and saga and the murder, but it is the experience of a person who is swept up in something way bigger than herself that she had nothing to do with, who survives a very harsh prison environment and then who enters into a world that has pre-defined her based on a false premise,” Knox said. “That’s an interesting story. And it’s not the story that \u003cem>Stillwater\u003c/em> told.”\u003c/p>\n\u003cp>After the publication of the \u003cem>Vanity Fair\u003c/em> story last week, Knox criticized the film, \u003ca href=\"https://twitter.com/amandaknox/status/1420871392266911746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">in a Twitter thread \u003c/a>and in an \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/07/amanda-knox-stillwater-matt-damon/619628/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Atlantic \u003c/em>essay\u003c/a>, for profiting off of her name and likeness without her permission.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Representatives for McCarthy have yet to respond to NPR’s request for comment. In an interview with \u003ca href=\"https://variety.com/2021/film/features/stillwater-tom-mccarthy-matt-damon-amanda-knox-1235036649/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>, McCarthy said he empathizes with Knox and what she went through. “She has platforms to speak her truth and engage with the media and she is exercising her absolute right to do so,” McCarthy said. “But, by her own account, she has not seen \u003cem>Stillwater\u003c/em> and what she seems to be raising feels very removed from the film we actually made. \u003cem>Stillwater\u003c/em> is a work of fiction and not about her life experience.”\u003c/p>\n\u003cp>In 2008, the Perugia resident Rudy Guede was sentenced to 16 years in prison for Kercher’s murder. Last year, \u003ca href=\"https://www.theguardian.com/world/2020/dec/04/meredith-kerchers-killer-to-complete-sentence-doing-community-service\" target=\"_blank\" rel=\"noopener noreferrer\">a court said\u003c/a> he could finish the rest of his sentence by doing community service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tyler Bartlam and Natalie Friedman Winston produced and edited the audio version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amanda+Knox%3A+%27Stillwater%27+Movie+Repeats+%27Fiction%27+Pushed+By+Italian+Prosecutor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Remember that \u003ca href=\"https://www.youtube.com/watch?v=8Vd883NNojI\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old who shoved a bear off her garden wall\u003c/a> to protect her dogs? Of course you do! Because it was freakin’ bananas. (“I wasn’t really thinking, to be honest,” Hailey Morinico later \u003ca href=\"https://www.youtube.com/watch?v=E7qTggjdGvk\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Extra\u003c/em>\u003c/a>, stating the obvious.) Well, this week, another California pup needed protecting from bears—and herself.\u003c/p>\n\u003cp>Caught on the now-viral video below is the moment that Daisy, an eight-month-old, bell-trained rescue from Sierra Madre, repeatedly requests that her humans let her go outside. Why? To bro down with some bears in the backyard pool. In the clip, Daisy’s owners, newlyweds Tiffany and Kevin Kress, express amusement rather than alarm at the close proximity of the bears. In fact, Kevin’s primary concern is for the safety of an inflatable pool toy. “Please don’t get the unicorn, please don’t get the unicorn,” he pleads through the window.\u003c/p>\n\u003cp>Throughout it all, Daisy (full name: Daisy Dukes Della Kress) continues hitting her bell to be allowed outside.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CyS873zhvvE\u003c/p>\n\u003cp>Before they were married, Tiffany and Kevin had another one of their backyard bear videos go viral last October. In that one, a cub can be seen pawing at the Kress home’s back doors. Tiffany was un-phased in that clip too, calmly asking “Can I help you?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EnSqUh4wQdg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No wonder they opted for bell-training instead of a doggy door…\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember that \u003ca href=\"https://www.youtube.com/watch?v=8Vd883NNojI\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old who shoved a bear off her garden wall\u003c/a> to protect her dogs? Of course you do! Because it was freakin’ bananas. (“I wasn’t really thinking, to be honest,” Hailey Morinico later \u003ca href=\"https://www.youtube.com/watch?v=E7qTggjdGvk\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Extra\u003c/em>\u003c/a>, stating the obvious.) Well, this week, another California pup needed protecting from bears—and herself.\u003c/p>\n\u003cp>Caught on the now-viral video below is the moment that Daisy, an eight-month-old, bell-trained rescue from Sierra Madre, repeatedly requests that her humans let her go outside. Why? To bro down with some bears in the backyard pool. In the clip, Daisy’s owners, newlyweds Tiffany and Kevin Kress, express amusement rather than alarm at the close proximity of the bears. In fact, Kevin’s primary concern is for the safety of an inflatable pool toy. “Please don’t get the unicorn, please don’t get the unicorn,” he pleads through the window.\u003c/p>\n\u003cp>Throughout it all, Daisy (full name: Daisy Dukes Della Kress) continues hitting her bell to be allowed outside.\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/CyS873zhvvE'\n title='//www.youtube.com/embed/CyS873zhvvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before they were married, Tiffany and Kevin had another one of their backyard bear videos go viral last October. In that one, a cub can be seen pawing at the Kress home’s back doors. Tiffany was un-phased in that clip too, calmly asking “Can I help you?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Strange, Singular, Audacious 'Annette' Works as an Odd, Original Rock Opera",
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"content": "\u003cp>2021 is shaping up to be a significant year for movie musicals: We’ve already seen \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Heights\u003c/em>\u003c/a>, and several more stage-to-screen adaptations are headed our way, including \u003cem>Dear Evan Hansen\u003c/em>; \u003cem>Tick, Tick … Boom!\u003c/em>; and Steven Spielberg’s remake of \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>While I’m looking forward to them, I doubt any of them will be as strange and singular as \u003cem>Annette\u003c/em>, an original musical in every sense. It’s an extravagantly emotional rock opera that mixes comedy and tragedy, showbiz satire and doomed romance. It doesn’t all work; if you’re not on its bizarre wavelength, it may not work for you at all. But moment by moment, its go-for-broke audacity left me feeling grateful that it exists.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aUM0NOHdJS0\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>was directed by \u003ca href=\"https://www.npr.org/2021/08/04/1024834015/annette-is-the-1st-musical-for-director-leos-carax-and-pop-duo-sparks\" target=\"_blank\" rel=\"noopener noreferrer\">Leos Carax\u003c/a>, the French visionary best known for his unhinged 2012 masterpiece, \u003ca href=\"https://www.npr.org/2012/10/16/162781324/holy-motors-an-odd-lovely-love-letter-to-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holy Motors\u003c/em>\u003c/a>. The script and songs were written by \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">Ron and Russell Mael\u003c/a>, the musical brothers whose band, Sparks, has enjoyed a cultish following since the ’60s. The director and writers appear on-screen at the beginning of \u003cem>Annette\u003c/em>, in a playful number called “So May We Start,” that also introduces the main actors. It kicks things off on a joyous high note that quickly fades as the film begins spinning a tale of rage, obsession and jealousy.\u003c/p>\n\u003cp>At the heart of the movie is \u003ca href=\"https://www.npr.org/2015/04/09/398528448/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>‘s mesmerizingly anguished performance as Henry, a cynical L.A. standup comedian who rips into himself and his audience every night during a rambling, not-particularly-funny routine. Henry has recently started seeing Ann, a beloved opera soprano played by a luminous \u003ca href=\"https://www.npr.org/2012/11/28/165994360/marion-cotillard-diving-deep-in-rust-and-bone\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Cotillard\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re a counterintuitive pairing, the bad-boy comedian and the soulful tragedian; one gossipy headline dubs them “Beauty and the Bastard.” But there’s real passion in their whirlwind romance, as we see and hear in the song, “We Love Each Other So Much,” which Henry and Ann sing to each other, in part, while in the throes of sexual ecstasy. And why not? Aren’t musical numbers meant to express heightened emotional states?\u003c/p>\n\u003cp>Carax and his collaborators clearly delight in taking the conventions of the form and pushing them to weird, hilarious extremes. Most of the dialogue is sung rather than spoken, and the actors are up to the challenge: Cotillard has long been a singer as well as an actor, and Driver tosses off some of his lyrics with a Sondheim-esque virtuosity that might remind you of his heartfelt rendition of “\u003ca href=\"https://www.youtube.com/watch?v=lWengrlMpok\" target=\"_blank\" rel=\"noopener noreferrer\">Being Alive\u003c/a>” from \u003ca href=\"https://www.npr.org/2019/11/08/777495737/marriage-story-reveals-the-messy-heartbreaking-toll-of-divorce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_105976']Speaking of marriage stories: Henry and Ann soon tie the knot, and almost immediately things begin falling apart. Henry’s comedy career hits the skids, in part because he can’t stop ranting to his audience about his jealousy over his wife’s success. Their private troubles play out in a very public spotlight, in a way that recalls classic Hollywood romances like \u003ca href=\"https://www.kqed.org/pop/106448/will-a-star-is-born-make-you-scream-yaas-gaga-yaas-or-nah-gaga-nah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Star is Born\u003c/em>\u003c/a>. There’s no saving Henry and Ann’s marriage, not even after they have a baby girl, the Annette of the title. In the movie’s most whimsical touch, baby Annette is played by a small wooden puppet—a choice that makes no sense and perfect sense: What better device than a puppet to suggest that for a celebrity couple, all the world’s a stage?\u003c/p>\n\u003cp>\u003cem>Annette\u003c/em> is full of such surreal flights of fancy, but it also has some heavy things to say about the price of fame. That’s an intriguing subject for Carax, who’s had his own barbed relationship with success in France, and for Ron and Russell Mael, who are often hailed as the most famous musicians you’ve never heard of, as seen in their terrific recent documentary \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sparks Brothers\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>paints a grim picture of contemporary stardom, with a passing nod to the #MeToo movement: In one hallucinatory number, Ann imagines that six women have accused Henry of abuse. It’s just a dream, but it’s a hard one to shake, given Henry’s temper and the menacing way that Driver dwarfs Cotillard in the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13898635']I wish there were more of Cotillard in \u003cem>Annette\u003c/em>; as great as Driver is, his rage is so charismatic, so all-consuming, that it leaves the story feeling emotionally lopsided. It also reinforces the gender power imbalance that the movie attempts to critique. But Henry is held somewhat in check by two other key characters. One of them is a music conductor, played by a fine Simon Helberg, who tries to protect Ann and Annette from Henry’s destructive impulses. The other is little Annette herself, whose innocence becomes quietly heroic as the movie approaches its shattering finale. This sweet, sad-eyed puppet reminds you of how so many great musicals work: by taking an artificial conceit and making it seem as real as life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Strange%2C+Singular%2C+Audacious+%27Annette%27+Works+As+An+Odd%2C+Original+Rock+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2021 is shaping up to be a significant year for movie musicals: We’ve already seen \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Heights\u003c/em>\u003c/a>, and several more stage-to-screen adaptations are headed our way, including \u003cem>Dear Evan Hansen\u003c/em>; \u003cem>Tick, Tick … Boom!\u003c/em>; and Steven Spielberg’s remake of \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>While I’m looking forward to them, I doubt any of them will be as strange and singular as \u003cem>Annette\u003c/em>, an original musical in every sense. It’s an extravagantly emotional rock opera that mixes comedy and tragedy, showbiz satire and doomed romance. It doesn’t all work; if you’re not on its bizarre wavelength, it may not work for you at all. But moment by moment, its go-for-broke audacity left me feeling grateful that it exists.\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/aUM0NOHdJS0'\n title='//www.youtube.com/embed/aUM0NOHdJS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Annette \u003c/em>was directed by \u003ca href=\"https://www.npr.org/2021/08/04/1024834015/annette-is-the-1st-musical-for-director-leos-carax-and-pop-duo-sparks\" target=\"_blank\" rel=\"noopener noreferrer\">Leos Carax\u003c/a>, the French visionary best known for his unhinged 2012 masterpiece, \u003ca href=\"https://www.npr.org/2012/10/16/162781324/holy-motors-an-odd-lovely-love-letter-to-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holy Motors\u003c/em>\u003c/a>. The script and songs were written by \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">Ron and Russell Mael\u003c/a>, the musical brothers whose band, Sparks, has enjoyed a cultish following since the ’60s. The director and writers appear on-screen at the beginning of \u003cem>Annette\u003c/em>, in a playful number called “So May We Start,” that also introduces the main actors. It kicks things off on a joyous high note that quickly fades as the film begins spinning a tale of rage, obsession and jealousy.\u003c/p>\n\u003cp>At the heart of the movie is \u003ca href=\"https://www.npr.org/2015/04/09/398528448/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>‘s mesmerizingly anguished performance as Henry, a cynical L.A. standup comedian who rips into himself and his audience every night during a rambling, not-particularly-funny routine. Henry has recently started seeing Ann, a beloved opera soprano played by a luminous \u003ca href=\"https://www.npr.org/2012/11/28/165994360/marion-cotillard-diving-deep-in-rust-and-bone\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Cotillard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re a counterintuitive pairing, the bad-boy comedian and the soulful tragedian; one gossipy headline dubs them “Beauty and the Bastard.” But there’s real passion in their whirlwind romance, as we see and hear in the song, “We Love Each Other So Much,” which Henry and Ann sing to each other, in part, while in the throes of sexual ecstasy. And why not? Aren’t musical numbers meant to express heightened emotional states?\u003c/p>\n\u003cp>Carax and his collaborators clearly delight in taking the conventions of the form and pushing them to weird, hilarious extremes. Most of the dialogue is sung rather than spoken, and the actors are up to the challenge: Cotillard has long been a singer as well as an actor, and Driver tosses off some of his lyrics with a Sondheim-esque virtuosity that might remind you of his heartfelt rendition of “\u003ca href=\"https://www.youtube.com/watch?v=lWengrlMpok\" target=\"_blank\" rel=\"noopener noreferrer\">Being Alive\u003c/a>” from \u003ca href=\"https://www.npr.org/2019/11/08/777495737/marriage-story-reveals-the-messy-heartbreaking-toll-of-divorce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of marriage stories: Henry and Ann soon tie the knot, and almost immediately things begin falling apart. Henry’s comedy career hits the skids, in part because he can’t stop ranting to his audience about his jealousy over his wife’s success. Their private troubles play out in a very public spotlight, in a way that recalls classic Hollywood romances like \u003ca href=\"https://www.kqed.org/pop/106448/will-a-star-is-born-make-you-scream-yaas-gaga-yaas-or-nah-gaga-nah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Star is Born\u003c/em>\u003c/a>. There’s no saving Henry and Ann’s marriage, not even after they have a baby girl, the Annette of the title. In the movie’s most whimsical touch, baby Annette is played by a small wooden puppet—a choice that makes no sense and perfect sense: What better device than a puppet to suggest that for a celebrity couple, all the world’s a stage?\u003c/p>\n\u003cp>\u003cem>Annette\u003c/em> is full of such surreal flights of fancy, but it also has some heavy things to say about the price of fame. That’s an intriguing subject for Carax, who’s had his own barbed relationship with success in France, and for Ron and Russell Mael, who are often hailed as the most famous musicians you’ve never heard of, as seen in their terrific recent documentary \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sparks Brothers\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>paints a grim picture of contemporary stardom, with a passing nod to the #MeToo movement: In one hallucinatory number, Ann imagines that six women have accused Henry of abuse. It’s just a dream, but it’s a hard one to shake, given Henry’s temper and the menacing way that Driver dwarfs Cotillard in the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I wish there were more of Cotillard in \u003cem>Annette\u003c/em>; as great as Driver is, his rage is so charismatic, so all-consuming, that it leaves the story feeling emotionally lopsided. It also reinforces the gender power imbalance that the movie attempts to critique. But Henry is held somewhat in check by two other key characters. One of them is a music conductor, played by a fine Simon Helberg, who tries to protect Ann and Annette from Henry’s destructive impulses. The other is little Annette herself, whose innocence becomes quietly heroic as the movie approaches its shattering finale. This sweet, sad-eyed puppet reminds you of how so many great musicals work: by taking an artificial conceit and making it seem as real as life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Strange%2C+Singular%2C+Audacious+%27Annette%27+Works+As+An+Odd%2C+Original+Rock+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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