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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case anyone was still in any doubt over the fact that our nation’s teachers are American heroes, please take a moment to salute Ms. Mallari of \u003ca href=\"https://www.pittsburg.k12.ca.us/losmedanos\" target=\"_blank\" rel=\"noopener\">Los Medanos Elementary School\u003c/a> in Pittsburg. The ridiculously cool second grade teacher is helping her students learn about responsibility, respect and supporting each other, via an adapted version of Lizzo’s “Truth Hurts”—and just a little dancing on the furniture.\u003c/p>\n\u003cp>Ms. Mallari keeps the song totally kid-friendly, changing Lizzo’s lyrics to fit the young audience. The most famous line in “Truth Hurts,” for example, gets changed to: “I just took an ELA test, turns out, I’m 100 percent that smart.”\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/TzM6IwxGuB4'\n title='//www.youtube.com/embed/TzM6IwxGuB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 75-second clip went viral almost immediately, with an outpouring of support on social media from the likes of \u003ca href=\"https://twitter.com/PittsburgPD/status/1191933643096092672\" target=\"_blank\" rel=\"noopener\">Pittsburg’s police department\u003c/a> and, oh yes, Lizzo herself.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]K[/dropcap]eanu Reeves stepped out over the weekend holding hands with artist and longtime friend, \u003ca href=\"https://alexandragrant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Grant\u003c/a>. The new couple’s debut at the LACMA Art and Film Gala prompted an immediate, enthusiastic response on social media that was centered around two things: The public desire to see Keanu Reeves happy after a litany of \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/how-unbearable-grief-saw-keanu-20814493\" target=\"_blank\" rel=\"noopener noreferrer\">personal tragedies\u003c/a>, and the fact that Grant is in her forties.\u003c/p>\n\u003cp>https://twitter.com/Travon/status/1191543326706561025\u003c/p>\n\u003cp>https://twitter.com/AngryBlackLady/status/1191526193121513472\u003c/p>\n\u003cp>https://twitter.com/MissBrittHayes/status/1191515987566383104\u003c/p>\n\u003cp>The 55-year-old actor’s decision to date a 46-year-old woman with grey hair was seen by a majority of commenters as a badge of honor, and further confirmation that Reeves is one of the good ones. This reaction was in direct contrast to how the world simultaneously greeted the news that Dennis Quaid, age 65, is engaged to 26-year-old Laura Savoie.\u003c/p>\n\u003cp>https://twitter.com/megweiss13/status/1189280467264196609\u003c/p>\n\u003cp>https://twitter.com/theflans/status/1191190014115364865\u003c/p>\n\u003cp>https://twitter.com/OliviaJRowe/status/1191574822930788352\u003c/p>\n\u003cp>Our obsession with \u003ca href=\"https://www.thetalko.com/the-20-biggest-age-difference-couples-in-hollywood/\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood age gaps\u003c/a> is nothing new. And though Sarah Paulson has received her \u003ca href=\"https://www.oprahmag.com/entertainment/a27043410/sarah-paulson-holland-taylor-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">fair share of scrutiny\u003c/a> for her relationship with Holland Taylor, 32 years her senior, and Demi Moore raised some eyebrows when she married Ashton Kutcher, this is a conversation that almost always focuses on famous men and their girlfriends.\u003c/p>\n\u003cp>The problem is, while these discussions are usually dressed up as either critiques or endorsements of the male celebrities in question, judging them on the ages of the women they date reinforces ideas about female partners as trophies; accessories that serve only to reflect the men they’re attached to. [aside postid='pop_104230']\u003c/p>\n\u003cp>To make matters worse, basing our judgements on the ages of these women in relation to their partners suggests that even in 2019, a woman is defined first by her relationship, then by her age, then by her actual accomplishments. When Dennis Quaid and his current girlfriend are discussed, it comes up only in the footnotes that Savoie is a PhD student who already has a bachelor’s degree in accounting. No one seems all that interested in the fact that she clearly has ambitions beyond her famous boyfriend.\u003c/p>\n\u003cp>The cultural tendency to correlate a woman’s value with her age leaves women at the mercy of inconstant ideas around youth and beauty, versus maturity and experience—and that dichotomy invites insecurities for all. Regardless of which end of the scale women fall on, they can’t win. If you’re young, you’re hot but you don’t know enough yet; if you’re older, you’re smart but less physically desirable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\n\u003cp>https://twitter.com/h_tucks/status/1191670750438133761\u003c/p>\n\u003cp>https://twitter.com/_sophiedarling/status/1191788480319365120\u003c/p>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. 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Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. One wrote: “Because I have other professions open to me in which the hours are shorter, the work more agreeable, and the pay possibly better.” Another replied: “I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”\u003c/p>\n\u003cp>Even when it’s well-intentioned, when we continue to judge famous men for the relationships they’re in, what we’re also doing is reminding women that much of their value continues to be assessed through the lens of both their romantic lives and their ages. What’s more, assuming men have all the onus over these relationships strips their wives and girlfriends of agency, as if these women had no hand in their own relationship status, or choice of partner.\u003c/p>\n\u003cp>In the end, passing judgement over partnerships between anyone, regardless of profession, or age, or sexuality, or race is utterly pointless. People will love who they want to love. Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the weekend, both Lorde and Sia expressed themselves with heartfelt candor after losing their beloved dogs. Sia said goodbye to her 16-year-old “best friend” Pantera, and Lorde lost Pearl, a chronically sick pup she adopted last year. Neither held back about the depth of grief they were experiencing—something a lot of people mourning pets struggle to do for fear of being dismissed or mocked.\u003c/p>\n\u003cp>Sia thanked her fans for keeping her “sober and alive” as she mourned Pantera’s death.\u003c/p>\n\u003cp>https://twitter.com/Sia/status/1190017856072646656\u003c/p>\n\u003cp>https://twitter.com/PauliFurler/status/1190037426993061898?s=20\u003c/p>\n\u003cp>https://twitter.com/Sia/status/1190787737583927296\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Lorde explained that she was feeling the loss of her pup so intensely, it was going to delay the release of her next album.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LordeDaily/status/1190705703415103488\" target=\"_blank\" rel=\"noopener noreferrer\">tear-jerking email\u003c/a> to her fans, the singer wrote:\u003c/p>\n\u003cblockquote>\u003cp>This loss has been indescribably painful, and a light that was turned on for me has gone out… The bright energy I was trying to communicate to you has gone, for now. [Pearl] was instrumental to the discovery that was taking place. I felt he led me toward the ideas. And it’s going to take some time and recalibration now that there’s no shepherd ahead of me, to see what the work is going to be. So I’m asking for your patience. I have lost my boy, and I need some time to see the good again, to finish making this for you. It won’t be the same work—as anyone who has felt loss can understand, there’s a door that opens that you step through, and everything is different on the other side.\u003c/p>\u003c/blockquote>\n\u003cp>As \u003cem>The\u003c/em> \u003cem>Washington Post\u003c/em>‘s Joe Yonan wrote in 2012, “\u003ca href=\"https://www.washingtonpost.com/national/health-science/the-death-of-pet-can-hurt-as-much-as-the-loss-of-a-relative/2012/02/21/gIQALXTXcS_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">the death of a pet can hurt as much as the loss of a relative\u003c/a>.” That remains a rarely recognized fact thanks to the persistent idea that, in the grand scheme of things, much worse things happen every day than the death of Fido or Felix.\u003c/p>\n\u003cp>Given the fact that Americans spend an estimated \u003ca href=\"https://www.valuepenguin.com/news/americans-spending-more-on-pets\" target=\"_blank\" rel=\"noopener noreferrer\">$72.56 billion\u003c/a> a year on their pets, there is a vast gulf between how much we love our animals and the amount of time we consider socially acceptable for coping with their loss. Pet grief remains woefully under-acknowledged. Even when we do bother, it’s frequently treated in the most glib of ways—greeting cards about rainbow bridges, or too-soon suggestions about replacement animals.\u003c/p>\n\u003cp>With all that considered, the fact that Sia admitted that her dog’s death put both her sobriety and her life in danger is extraordinary, as is Lorde’s unapologetic request for time away from her work while she heals. (Let’s not forget that bereavement leave for animal death is still \u003ca href=\"https://www.shrm.org/resourcesandtools/hr-topics/employee-relations/pages/grieving-a-pets-death-should-workers-get-time-off.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">extremely rare\u003c/a> and sometimes even frowned upon.)\u003c/p>\n\u003cp>In an article last year, \u003ca href=\"https://www.scientificamerican.com/article/why-we-need-to-take-pet-loss-seriously/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scientific American\u003c/em>\u003c/a> suggested we need to shift our attitudes toward pet loss significantly for essential mental health-related reasons. “We may feel embarrassed and even ashamed about the severity of the heartbreak we feel and, consequently, hesitate to disclose our feelings to our loved ones,” Guy Winch wrote. “That additional shame complicates the process of recovery by making it more lengthy and complex than it should be… It is time we gave grieving pet owners the recognition, support and consideration they need.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lorde and Sia just gave us rare and powerful examples of how to ask for those.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Lorde explained that she was feeling the loss of her pup so intensely, it was going to delay the release of her next album.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LordeDaily/status/1190705703415103488\" target=\"_blank\" rel=\"noopener noreferrer\">tear-jerking email\u003c/a> to her fans, the singer wrote:\u003c/p>\n\u003cblockquote>\u003cp>This loss has been indescribably painful, and a light that was turned on for me has gone out… The bright energy I was trying to communicate to you has gone, for now. [Pearl] was instrumental to the discovery that was taking place. I felt he led me toward the ideas. And it’s going to take some time and recalibration now that there’s no shepherd ahead of me, to see what the work is going to be. So I’m asking for your patience. I have lost my boy, and I need some time to see the good again, to finish making this for you. It won’t be the same work—as anyone who has felt loss can understand, there’s a door that opens that you step through, and everything is different on the other side.\u003c/p>\u003c/blockquote>\n\u003cp>As \u003cem>The\u003c/em> \u003cem>Washington Post\u003c/em>‘s Joe Yonan wrote in 2012, “\u003ca href=\"https://www.washingtonpost.com/national/health-science/the-death-of-pet-can-hurt-as-much-as-the-loss-of-a-relative/2012/02/21/gIQALXTXcS_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">the death of a pet can hurt as much as the loss of a relative\u003c/a>.” That remains a rarely recognized fact thanks to the persistent idea that, in the grand scheme of things, much worse things happen every day than the death of Fido or Felix.\u003c/p>\n\u003cp>Given the fact that Americans spend an estimated \u003ca href=\"https://www.valuepenguin.com/news/americans-spending-more-on-pets\" target=\"_blank\" rel=\"noopener noreferrer\">$72.56 billion\u003c/a> a year on their pets, there is a vast gulf between how much we love our animals and the amount of time we consider socially acceptable for coping with their loss. Pet grief remains woefully under-acknowledged. Even when we do bother, it’s frequently treated in the most glib of ways—greeting cards about rainbow bridges, or too-soon suggestions about replacement animals.\u003c/p>\n\u003cp>With all that considered, the fact that Sia admitted that her dog’s death put both her sobriety and her life in danger is extraordinary, as is Lorde’s unapologetic request for time away from her work while she heals. (Let’s not forget that bereavement leave for animal death is still \u003ca href=\"https://www.shrm.org/resourcesandtools/hr-topics/employee-relations/pages/grieving-a-pets-death-should-workers-get-time-off.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">extremely rare\u003c/a> and sometimes even frowned upon.)\u003c/p>\n\u003cp>In an article last year, \u003ca href=\"https://www.scientificamerican.com/article/why-we-need-to-take-pet-loss-seriously/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scientific American\u003c/em>\u003c/a> suggested we need to shift our attitudes toward pet loss significantly for essential mental health-related reasons. “We may feel embarrassed and even ashamed about the severity of the heartbreak we feel and, consequently, hesitate to disclose our feelings to our loved ones,” Guy Winch wrote. “That additional shame complicates the process of recovery by making it more lengthy and complex than it should be… It is time we gave grieving pet owners the recognition, support and consideration they need.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lorde and Sia just gave us rare and powerful examples of how to ask for those.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Emilia Clarke on 'Last Christmas,' Brexit and Life After 'Game of Thrones'",
"headTitle": "Emilia Clarke on ‘Last Christmas,’ Brexit and Life After ‘Game of Thrones’ | KQED",
"content": "\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z9CEIcmWmtA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\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/z9CEIcmWmtA'\n title='//www.youtube.com/embed/z9CEIcmWmtA'\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>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=937067\">Martin Scorsese\u003c/a> has made so many terrific crime pictures that you would be forgiven for doubting whether he had another one in him. The great surprise of his haunting and elegiac new movie, \u003cem>The Irishman, \u003c/em>is that it doesn’t play like a retread so much as a reckoning.\u003c/p>\n\u003cp>It reunites Scorsese with \u003cem>Goodfellas \u003c/em>actors Robert De Niro and Joe Pesci, but while his earlier mob classic had an exhilarating energy, \u003cem>The Irishman\u003c/em> is suffused with loss. It feels older, wiser and infinitely sadder. There are still wisecracks and double-crosses and whackings aplenty, but there’s no kicky thrill to the violence this time—just a harsh aftertaste of emptiness and futility.\u003c/p>\n\u003cp>Since the movie spans several decades and runs 3 1/2 hours, that’s admittedly a lot of futility. But \u003cem>The Irishman \u003c/em>is a richly involving experience. Its measured pace is entirely gripping, and its gorgeous images are well worth seeing in a theater if you live near one of the few venues where it’s playing (before it hits Netflix on Nov. 27). On a big screen, you might notice some of the minor imperfections of the “digital de-aging” technology that Scorsese uses to make the actors look younger in different time frames, but you stop noticing them after a few moments as the illusion takes hold.\u003c/p>\n\u003cp>De Niro stars as Frank Sheeran, the Irishman of the title, and the movie is essentially his account of his life and crimes. Shortly before his death from cancer in 2003, Sheeran claimed that he had killed Teamsters boss Jimmy Hoffa, who had gone mysteriously missing in 1975. One of his former attorneys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3804209\">Charles Brandt\u003c/a>, reported that claim in his biography of Sheeran, \u003cem>I Heard You Paint Houses\u003c/em>, which serves as the foundation for Steven Zaillian’s screenplay.\u003c/p>\n\u003cp>But Sheeran, narrating his story from a retirement home at the age of 82, has a lot to tell us before he gets to that point. He takes us back to the 1940s, when he was a Pennsylvania truck driver who managed to ingratiate himself with local mafioso Russell Bufalino, wonderfully played by Pesci in a long-overdue return to the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sheeran becomes Bufalino’s most reliable hit man: Desensitized to violence by his World War II military service, he kills efficiently and doesn’t ask too many questions. He’s so good at his job that Bufalino soon introduces him over the phone to Hoffa, played by Al Pacino.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WHXxVmeGQUc\u003c/p>\n\u003cp>Before long, Sheeran is handling Hoffa’s dirty work as well, and in their bond, we see the insidious ties between unionized labor and organized crime. \u003cem>The Irishman\u003c/em> compresses a lot of tumultuous history: There are reenactments of famous mob killings, drive-by references to events such as the \u003ca href=\"https://www.npr.org/2011/04/17/135444482/50-years-later-learning-from-the-bay-of-pigs\">Bay of Pigs invasion\u003c/a>, and even a brief nod to the conspiracy theory that the mob ordered the \u003ca href=\"https://www.npr.org/series/243938281/the-jfk-assassination-50-years-later\">assassination of President John F. Kennedy\u003c/a>.\u003c/p>\n\u003cp>But for all the movie’s historical sweep and its colorful supporting turns by actors like \u003ca href=\"https://www.npr.org/2016/03/30/472385235/ray-romano-gets-deep-dark-and-angsty-for-martin-scorsese-s-vinyl\">Ray Romano\u003c/a>, \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\">Bobby Cannavale\u003c/a> and \u003ca href=\"https://www.npr.org/2015/12/05/458573116/moment-of-truth-in-youth-hits-home-for-actor-harvey-keitel\">Harvey Keitel\u003c/a>, it’s the three central personalities that make the movie so engrossing. Scorsese is fascinated by the codes of loyalty that bind Sheeran, Bufalino and Hoffa—and also by the petty rivalries and power struggles that threaten to destroy them.\u003c/p>\n\u003cp>De Niro, Pesci and Pacino are at the top of their game, in part because they aren’t simply rehashing the iconic gangster types they’ve played before. Pesci makes Bufalino quiet and calculating—the complete opposite of the short-fused goodfella character that won him an Oscar.\u003c/p>\n\u003cp>Pacino gets to go big and boisterous without tilting into bombast. He pours enormous affection into the role of Hoffa, a man of simple pleasures—he loves ice cream more than anything—and old-school habits, as we see when he unleashes hell on someone who shows up late to a meeting.\u003c/p>\n\u003cp>As for De Niro, he gives a quietly chilling and finally wrenching performance as a man who dutifully aligns himself with evil. The last third of \u003cem>The Irishman \u003c/em>slows to a riveting crawl as it reconstructs what may or may not have happened in Hoffa’s final hours. Scorsese draws out the tension to an unbearable degree; he wants us to feel in our bones the horror and gravity of what it means to take someone else’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I haven’t yet mentioned Sheeran’s wives and children, which is fitting, since he mostly treats them as afterthoughts. Scorsese doesn’t make the same mistake. Sheeran’s daughter Peggy, played at different ages by Lucy Gallina and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=105174915\">Anna Paquin\u003c/a>, becomes the movie’s moral center. Peggy doesn’t say much, but her silence cuts right through all the movie’s male bluster. With every withering stare, she offers a brutal judgment of her father and the ghastly, corrupt world to which he belongs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+Niro%2C+Pesci+And+Pacino+Are+At+The+Top+Of+Their+Game+In+%27The+Irishman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=937067\">Martin Scorsese\u003c/a> has made so many terrific crime pictures that you would be forgiven for doubting whether he had another one in him. The great surprise of his haunting and elegiac new movie, \u003cem>The Irishman, \u003c/em>is that it doesn’t play like a retread so much as a reckoning.\u003c/p>\n\u003cp>It reunites Scorsese with \u003cem>Goodfellas \u003c/em>actors Robert De Niro and Joe Pesci, but while his earlier mob classic had an exhilarating energy, \u003cem>The Irishman\u003c/em> is suffused with loss. It feels older, wiser and infinitely sadder. There are still wisecracks and double-crosses and whackings aplenty, but there’s no kicky thrill to the violence this time—just a harsh aftertaste of emptiness and futility.\u003c/p>\n\u003cp>Since the movie spans several decades and runs 3 1/2 hours, that’s admittedly a lot of futility. But \u003cem>The Irishman \u003c/em>is a richly involving experience. Its measured pace is entirely gripping, and its gorgeous images are well worth seeing in a theater if you live near one of the few venues where it’s playing (before it hits Netflix on Nov. 27). On a big screen, you might notice some of the minor imperfections of the “digital de-aging” technology that Scorsese uses to make the actors look younger in different time frames, but you stop noticing them after a few moments as the illusion takes hold.\u003c/p>\n\u003cp>De Niro stars as Frank Sheeran, the Irishman of the title, and the movie is essentially his account of his life and crimes. Shortly before his death from cancer in 2003, Sheeran claimed that he had killed Teamsters boss Jimmy Hoffa, who had gone mysteriously missing in 1975. One of his former attorneys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3804209\">Charles Brandt\u003c/a>, reported that claim in his biography of Sheeran, \u003cem>I Heard You Paint Houses\u003c/em>, which serves as the foundation for Steven Zaillian’s screenplay.\u003c/p>\n\u003cp>But Sheeran, narrating his story from a retirement home at the age of 82, has a lot to tell us before he gets to that point. He takes us back to the 1940s, when he was a Pennsylvania truck driver who managed to ingratiate himself with local mafioso Russell Bufalino, wonderfully played by Pesci in a long-overdue return to the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sheeran becomes Bufalino’s most reliable hit man: Desensitized to violence by his World War II military service, he kills efficiently and doesn’t ask too many questions. He’s so good at his job that Bufalino soon introduces him over the phone to Hoffa, played by Al Pacino.\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/WHXxVmeGQUc'\n title='//www.youtube.com/embed/WHXxVmeGQUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, Sheeran is handling Hoffa’s dirty work as well, and in their bond, we see the insidious ties between unionized labor and organized crime. \u003cem>The Irishman\u003c/em> compresses a lot of tumultuous history: There are reenactments of famous mob killings, drive-by references to events such as the \u003ca href=\"https://www.npr.org/2011/04/17/135444482/50-years-later-learning-from-the-bay-of-pigs\">Bay of Pigs invasion\u003c/a>, and even a brief nod to the conspiracy theory that the mob ordered the \u003ca href=\"https://www.npr.org/series/243938281/the-jfk-assassination-50-years-later\">assassination of President John F. Kennedy\u003c/a>.\u003c/p>\n\u003cp>But for all the movie’s historical sweep and its colorful supporting turns by actors like \u003ca href=\"https://www.npr.org/2016/03/30/472385235/ray-romano-gets-deep-dark-and-angsty-for-martin-scorsese-s-vinyl\">Ray Romano\u003c/a>, \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\">Bobby Cannavale\u003c/a> and \u003ca href=\"https://www.npr.org/2015/12/05/458573116/moment-of-truth-in-youth-hits-home-for-actor-harvey-keitel\">Harvey Keitel\u003c/a>, it’s the three central personalities that make the movie so engrossing. Scorsese is fascinated by the codes of loyalty that bind Sheeran, Bufalino and Hoffa—and also by the petty rivalries and power struggles that threaten to destroy them.\u003c/p>\n\u003cp>De Niro, Pesci and Pacino are at the top of their game, in part because they aren’t simply rehashing the iconic gangster types they’ve played before. Pesci makes Bufalino quiet and calculating—the complete opposite of the short-fused goodfella character that won him an Oscar.\u003c/p>\n\u003cp>Pacino gets to go big and boisterous without tilting into bombast. He pours enormous affection into the role of Hoffa, a man of simple pleasures—he loves ice cream more than anything—and old-school habits, as we see when he unleashes hell on someone who shows up late to a meeting.\u003c/p>\n\u003cp>As for De Niro, he gives a quietly chilling and finally wrenching performance as a man who dutifully aligns himself with evil. The last third of \u003cem>The Irishman \u003c/em>slows to a riveting crawl as it reconstructs what may or may not have happened in Hoffa’s final hours. Scorsese draws out the tension to an unbearable degree; he wants us to feel in our bones the horror and gravity of what it means to take someone else’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I haven’t yet mentioned Sheeran’s wives and children, which is fitting, since he mostly treats them as afterthoughts. Scorsese doesn’t make the same mistake. Sheeran’s daughter Peggy, played at different ages by Lucy Gallina and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=105174915\">Anna Paquin\u003c/a>, becomes the movie’s moral center. Peggy doesn’t say much, but her silence cuts right through all the movie’s male bluster. With every withering stare, she offers a brutal judgment of her father and the ghastly, corrupt world to which he belongs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+Niro%2C+Pesci+And+Pacino+Are+At+The+Top+Of+Their+Game+In+%27The+Irishman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Each year, October brings pumpkins, witches and candy. But for artists, it also brings the annual tradition of \u003ca href=\"https://inktober.com/\">Inktober\u003c/a>. Illustrator and writer \u003ca href=\"https://www.mrjakeparker.com/\">Jake Parker\u003c/a> created the drawing challenge 10 years ago as a way to strengthen his ink-drawing skills.\u003c/p>\n\u003cp>In 2009, he announced on his blog that he was going to create and post an ink drawing every day in October, and he invited other artists to join him. Now, millions of drawings are posted to \u003ca href=\"https://www.instagram.com/explore/tags/inktober/\">#inktober\u003c/a> on Instagram.\u003c/p>\n\u003cp>“It’s a lot to absorb and follow,” Parker says.\u003c/p>\n\u003cp>A few years ago, \u003ca href=\"https://inktober.com/rules\">Parker introduced daily prompts\u003c/a>: a daily word that could serve as inspiration for a drawing during Inktober. Some artists work on a consistent theme or project throughout the month; others prefer a less rigid approach.\u003c/p>\n\u003cp>“Every year, it’s a chance to spend that time focused on a project that can be finished in a month or get a good chunk of it done in a month,” Parker says. Some Inktober projects have turned into published books.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The goal is to post a new drawing each day, but it can be demanding to meet that pace.\u003c/p>\n\u003cp>“I’m all about building habits and even if I can find only 15 minutes to draw, I’ll use this time the best I can,” \u003ca href=\"https://dariagolab.com/\">artist and illustrator Daria Golab\u003c/a> writes in an email. “At the same time if I miss a few days, I don’t worry about it and will try to catch up but without putting too much pressure on it.”\u003c/p>\n\u003cp>Any artist can join the challenge, using any creative process the person wishes. Here is a selection of artists creating work for Inktober and their experiences, shared via email:\u003c/p>\n\u003cp>https://www.instagram.com/p/B3FOJvGD8R5/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I usually draw something simple every day,” \u003ca href=\"https://www.nicole-xu.com/\">illustrator Nicole Xu\u003c/a> writes. ” It’s not a strict rule though. This Inktober, I was swamped with freelance work, so I had to take a break from inking so it didn’t feel like a chore.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3kHYUQJtky/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I think of everyday items or topics that interest me and begin brainstorming how I can turn those subjects into art in the most eccentric way possible, while still keeping animals and nature as the main focus,” \u003ca href=\"http://www.dominiqueramsey.com/\">illustrator Dominique Ramsey\u003c/a> writes.\u003c/p>\n\u003cp>https://www.instagram.com/p/B3M4330FiTQ/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I like to create pieces as often as I can,” \u003ca href=\"https://www.instagram.com/dustybrockway/\">artist Michael Lindberg\u003c/a> writes. “Sometimes that means several drawings a week or just one. I enjoy the process of generating ideas and getting them out of my head.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B34Kk9jHOMg/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“When it comes to Inktober or any other challenge, I try to post every single piece,” Golab writes. “Even if I don’t really like it, I try not to subscribe to the idea of only showing good results. Good artists make bad works too!”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3l6UosA6rX/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have been creating pieces almost everyday this month,” \u003ca href=\"https://www.instagram.com/the.arti.tect/\">artist and architect Anu Sam\u003c/a> writes. “However it takes me much longer to perfect an artwork otherwise, seeking for just the right mood. Since my method of execution involves stippling I tend to work for hours on a single inked drawing for the day.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inktober+Challenge+Pushes+Artists+To+Flex+Their+Creative+Muscles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each year, October brings pumpkins, witches and candy. But for artists, it also brings the annual tradition of \u003ca href=\"https://inktober.com/\">Inktober\u003c/a>. Illustrator and writer \u003ca href=\"https://www.mrjakeparker.com/\">Jake Parker\u003c/a> created the drawing challenge 10 years ago as a way to strengthen his ink-drawing skills.\u003c/p>\n\u003cp>In 2009, he announced on his blog that he was going to create and post an ink drawing every day in October, and he invited other artists to join him. Now, millions of drawings are posted to \u003ca href=\"https://www.instagram.com/explore/tags/inktober/\">#inktober\u003c/a> on Instagram.\u003c/p>\n\u003cp>“It’s a lot to absorb and follow,” Parker says.\u003c/p>\n\u003cp>A few years ago, \u003ca href=\"https://inktober.com/rules\">Parker introduced daily prompts\u003c/a>: a daily word that could serve as inspiration for a drawing during Inktober. Some artists work on a consistent theme or project throughout the month; others prefer a less rigid approach.\u003c/p>\n\u003cp>“Every year, it’s a chance to spend that time focused on a project that can be finished in a month or get a good chunk of it done in a month,” Parker says. Some Inktober projects have turned into published books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Dos and Don'ts of Halloween Costumes and Decorations",
"headTitle": "The Dos and Don’ts of Halloween Costumes and Decorations | KQED",
"content": "\u003cp>It’s that time of year: Leaves are falling, temperatures are dropping, families are heading out to the pumpkin patch and that \u003cem>one \u003c/em>neighbor is preparing to hand out raisins to kids who’d much, much rather have candy. All is well—at least until our social media feeds are flooded with the annual onslaught of racial Halloween faux pas.\u003c/p>\n\u003cp>Often these incidents trigger debate about what should and shouldn’t be allowed when it comes to festivities. It’s a tired conversation that often ends in diatribes about the tyranny of political correctness and how no one knows how to have \u003cem>fun \u003c/em>anymore. We don’t want to have that conversation; we’d rather just eat our treats in peace. That’s why we’re bringing you our \u003ca href=\"https://www.npr.org/sections/codeswitch/\" target=\"_blank\" rel=\"noopener\">\u003cem>Code Switch\u003c/em>\u003c/a> Guide to Halloween\u003cem>. \u003c/em>Unsure if your decorations have racial overtones? Wondering what costumes\u003cem> are\u003c/em> fair game? We’ve got you covered so you can have some fearful fun.\u003c/p>\n\u003chr>\n\u003cp>Let’s start with some terminology: Halloween is all about the fantastical world of horror. Scary costumes, eerie noises, creepy decorations, \u003ca href=\"https://twitter.com/cursedimages?lang=en\">cursed images\u003c/a>. But … “spooky”? It’s a term some people use around this time of year without much thought. But in the era after World War II, it also became a slur for black people. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask Code Switch\u003c/a> reader wrote in 2017 to ask us about the appropriate use of “spook” and “spooky,” so we dove into its history and \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/24/559502238/this-halloween-what-does-it-mean-to-call-something-spooky\">offered some guidance\u003c/a>:\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” sociolinguist Renee Blake told us. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, okay, you mean ‘Did you get scared or frightened?’ That’s fine—I get it.” In other words, be conscious of your surroundings.\u003c/p>\n\u003cp>Of course, when it comes to Halloween, language is just the beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We have a joke here at \u003cem>Code Switch\u003c/em> that Halloween is like blackface Christmas. And every year, there’s at least one headline with the story of one very tasteless costume. These scandals cycle back around \u003ca href=\"https://www.nytimes.com/2013/10/31/fashion/a-halloween-risk-racism-in-disguise.html?smid=tw-nytstyles&seid=auto&_r=1&\">again\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/10/23/media/megyn-kelly-blackface/index.html\">again\u003c/a> and \u003ca href=\"https://www.npr.org/2019/09/20/762643480/trudeaus-blackface-incidents-reveal-another-side-of-canada\">again\u003c/a>.\u003c/p>\n\u003cp>When it comes to this topic, we’ve been there before—with a \u003ca href=\"https://www.npr.org/2019/02/07/692237314/were-going-to-start-a-dialogue-again\">whole podcast episode\u003c/a> about it. As our very own Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">put it\u003c/a>, in response to the infamous Megyn Kelly statement that she didn’t understand why blackface on Halloween is a problem: “Maybe these annual conversations should be less about \u003cem>whether\u003c/em> blackface is bad, but why so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>Sure, no one \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/northam-mum-about-his-plans-after-a-flood-of-calls-for-his-resignation-for-racist-and-offensive-photo/2019/02/02/5883402a-26e9-11e9-90cd-dedb0c92dc17_story.html?wpisrc=al_news__alert-national--alert-politics--alert-local-politics&wpmk=1\">ever\u003c/a> *\u003ca href=\"https://www.shreveporttimes.com/story/news/2017/02/27/political-website-shows-la-house-candidate-blackface/98478246/\">really\u003c/a>* \u003ca href=\"https://www.cnn.com/2017/12/18/football/antoine-griezmann-blackface-costume-atletico-madrid/index.html\">intends\u003c/a> to offend others with their rendition of a famous black character or icon (do they?), but intent shouldn’t be at the forefront of our examination (nor should it take precedent in the apology that follows).\u003c/p>\n\u003cp>Moving on from shoe polish, here are some more costume ideas that fit into our do’s and don’ts.\u003c/p>\n\u003cp>First, under the do’s:\u003c/p>\n\u003cp>Go for one of the classics: pirate, astronaut, ghost, cheerleader. You know the drill. Or spice it up with some pop culture creativity: Harness physiological terror by dressing up as a Tethered from \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\">Us\u003c/a>, an alien at Area 51 or, if you’re looking for a group costume, \u003ca href=\"https://www.vox.com/future-perfect/2019/8/6/20756162/30-to-50-feral-hogs-meme-assault-weapons-guns-kids\">30 to 50 feral hogs\u003c/a>.\u003c/p>\n\u003cp>Now for some don’ts:\u003c/p>\n\u003cp>Let’s start with the obvious. Stay away from the \u003ca href=\"https://www.hcn.org/articles/tribal-affairs-lingerie-company-quietly-removes-native-american-themed-costumes\">sexy Indian\u003c/a> fringe-and-headdresses idea (there’s nothing erotic about genocide!). Geisha wear (yes, this includes kimonos) and \u003ca href=\"https://splinternews.com/psa-transphobic-halloween-costumes-like-this-one-are-a-1793862442\">transphobic ensembles\u003c/a> are also off-limits. Anything that makes a spectacle out of a culture or ethnicity is to be avoided.\u003c/p>\n\u003cp>But what if there hasn’t been a media storm condemning a certain costume and you still sense something is off? Like when a reader \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">wrote to us about\u003c/a> her child wanting to dress as a voodoo doll. “I don’t know enough about Louisiana culture or African religious traditions to know whether this would hurt or offend someone,” she said.\u003c/p>\n\u003cp>Her instinct that something felt off? Right on the mark. \u003cem>NPR\u003c/em>‘s Leah Donnella scouted out the origins of “voodoo” and its use as a catchall for many religions. The best known of those is Haitian Vodou, which is vastly misunderstood by Americans and is not to be confused with what you see in movies like \u003ca href=\"http://www.sciencefictionarchives.com/en/other-collections/583/original-indiana-jones-voodoo-doll\">Indiana Jones\u003c/a> or\u003ca href=\"http://religiondispatches.org/bad-magic-voodoo-according-to-disney/\"> The Princess and the Frog\u003c/a>. The conclusion, as \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">our story\u003c/a> put it, is that “when it comes to Halloween, treat Vodou like you would any other faith. That is to say, don’t delve into anyone else’s religious traditions (real or dreamed up by Hollywood) in search of a costume.”\u003c/p>\n\u003cp>All in all, you should trust your suspicions. If you have to ask yourself whether your costume is offensive, it likely is. And you don’t want to be the only one in on the joke.\u003c/p>\n\u003cp>Great. So your language is in check. Your costume is in check. You’re on track to become the best on the block. Now let’s talk decorations.\u003c/p>\n\u003cp>There are endless ways to funk up your displays: jack-o’-lanterns, broomsticks and cobwebs. But then there are optics that send a much more sinister message. In 2018 we answered a \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">question from a listener\u003c/a> who asked about hanging skeletons by a noose outside his home. Was this, he wanted to know, \u003ca href=\"https://www.nytimes.com/2019/10/25/nyregion/nooses-blackface-halloween-decorations.html\">reminiscent of a lynching\u003c/a>?\u003c/p>\n\u003cp>Well, yeah. Images carry meaning that far surpass what may appear to be true at face value. It’s our responsibility to seek that understanding even when—and especially if—our identities have shielded us from those legacies of horror. \u003ca href=\"http://www.monroeworktoday.org/lynching.html\">The era of lynching\u003c/a> in America began after Reconstruction, and between 1877 and 1950, over 4,000 African Americans were murdered in racial lynchings, often becoming public spectacles for white community residents. (Our podcast episode “\u003ca href=\"https://www.npr.org/2019/10/21/772080008/a-strange-and-bitter-crop\">A Strange and Bitter Crop\u003c/a>” explores the horror of the Claude Neal lynching of 1934.)\u003c/p>\n\u003cp>Don’t worry—you can still make use of your skeletons. NPR’s Mayowa Aina \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">suggests\u003c/a> sitting the skeleton up in a tree so it looks like someone died and decomposed or even using spiderwebs instead of rope. Decorations are fun because you can use your imagination, so get creative and avoid invoking historical trauma.\u003c/p>\n\u003cp>So this year and always, be mindful of your mischief. Entertainment this All Hallows’ Eve doesn’t have to come at a cost to anyone, and avoiding missteps doesn’t take much extra effort.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Oh, there’s still a perennial Halloween debate that we’re not going to solve here. Even after years of controversy, the C\u003cem>ode Switch\u003c/em> team is split on this one: Is \u003ca href=\"https://twitter.com/wbaltv11/status/1184967202665046017\">candy corn\u003c/a> good or bad? We’d love to know \u003ca href=\"mailto:codeswitch@npr.org\">what side you’re on\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Code+Switch+Guide+To+Halloween&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year: Leaves are falling, temperatures are dropping, families are heading out to the pumpkin patch and that \u003cem>one \u003c/em>neighbor is preparing to hand out raisins to kids who’d much, much rather have candy. All is well—at least until our social media feeds are flooded with the annual onslaught of racial Halloween faux pas.\u003c/p>\n\u003cp>Often these incidents trigger debate about what should and shouldn’t be allowed when it comes to festivities. It’s a tired conversation that often ends in diatribes about the tyranny of political correctness and how no one knows how to have \u003cem>fun \u003c/em>anymore. We don’t want to have that conversation; we’d rather just eat our treats in peace. That’s why we’re bringing you our \u003ca href=\"https://www.npr.org/sections/codeswitch/\" target=\"_blank\" rel=\"noopener\">\u003cem>Code Switch\u003c/em>\u003c/a> Guide to Halloween\u003cem>. \u003c/em>Unsure if your decorations have racial overtones? Wondering what costumes\u003cem> are\u003c/em> fair game? We’ve got you covered so you can have some fearful fun.\u003c/p>\n\u003chr>\n\u003cp>Let’s start with some terminology: Halloween is all about the fantastical world of horror. Scary costumes, eerie noises, creepy decorations, \u003ca href=\"https://twitter.com/cursedimages?lang=en\">cursed images\u003c/a>. But … “spooky”? It’s a term some people use around this time of year without much thought. But in the era after World War II, it also became a slur for black people. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask Code Switch\u003c/a> reader wrote in 2017 to ask us about the appropriate use of “spook” and “spooky,” so we dove into its history and \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/24/559502238/this-halloween-what-does-it-mean-to-call-something-spooky\">offered some guidance\u003c/a>:\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” sociolinguist Renee Blake told us. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, okay, you mean ‘Did you get scared or frightened?’ That’s fine—I get it.” In other words, be conscious of your surroundings.\u003c/p>\n\u003cp>Of course, when it comes to Halloween, language is just the beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We have a joke here at \u003cem>Code Switch\u003c/em> that Halloween is like blackface Christmas. And every year, there’s at least one headline with the story of one very tasteless costume. These scandals cycle back around \u003ca href=\"https://www.nytimes.com/2013/10/31/fashion/a-halloween-risk-racism-in-disguise.html?smid=tw-nytstyles&seid=auto&_r=1&\">again\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/10/23/media/megyn-kelly-blackface/index.html\">again\u003c/a> and \u003ca href=\"https://www.npr.org/2019/09/20/762643480/trudeaus-blackface-incidents-reveal-another-side-of-canada\">again\u003c/a>.\u003c/p>\n\u003cp>When it comes to this topic, we’ve been there before—with a \u003ca href=\"https://www.npr.org/2019/02/07/692237314/were-going-to-start-a-dialogue-again\">whole podcast episode\u003c/a> about it. As our very own Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">put it\u003c/a>, in response to the infamous Megyn Kelly statement that she didn’t understand why blackface on Halloween is a problem: “Maybe these annual conversations should be less about \u003cem>whether\u003c/em> blackface is bad, but why so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>Sure, no one \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/northam-mum-about-his-plans-after-a-flood-of-calls-for-his-resignation-for-racist-and-offensive-photo/2019/02/02/5883402a-26e9-11e9-90cd-dedb0c92dc17_story.html?wpisrc=al_news__alert-national--alert-politics--alert-local-politics&wpmk=1\">ever\u003c/a> *\u003ca href=\"https://www.shreveporttimes.com/story/news/2017/02/27/political-website-shows-la-house-candidate-blackface/98478246/\">really\u003c/a>* \u003ca href=\"https://www.cnn.com/2017/12/18/football/antoine-griezmann-blackface-costume-atletico-madrid/index.html\">intends\u003c/a> to offend others with their rendition of a famous black character or icon (do they?), but intent shouldn’t be at the forefront of our examination (nor should it take precedent in the apology that follows).\u003c/p>\n\u003cp>Moving on from shoe polish, here are some more costume ideas that fit into our do’s and don’ts.\u003c/p>\n\u003cp>First, under the do’s:\u003c/p>\n\u003cp>Go for one of the classics: pirate, astronaut, ghost, cheerleader. You know the drill. Or spice it up with some pop culture creativity: Harness physiological terror by dressing up as a Tethered from \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\">Us\u003c/a>, an alien at Area 51 or, if you’re looking for a group costume, \u003ca href=\"https://www.vox.com/future-perfect/2019/8/6/20756162/30-to-50-feral-hogs-meme-assault-weapons-guns-kids\">30 to 50 feral hogs\u003c/a>.\u003c/p>\n\u003cp>Now for some don’ts:\u003c/p>\n\u003cp>Let’s start with the obvious. Stay away from the \u003ca href=\"https://www.hcn.org/articles/tribal-affairs-lingerie-company-quietly-removes-native-american-themed-costumes\">sexy Indian\u003c/a> fringe-and-headdresses idea (there’s nothing erotic about genocide!). Geisha wear (yes, this includes kimonos) and \u003ca href=\"https://splinternews.com/psa-transphobic-halloween-costumes-like-this-one-are-a-1793862442\">transphobic ensembles\u003c/a> are also off-limits. Anything that makes a spectacle out of a culture or ethnicity is to be avoided.\u003c/p>\n\u003cp>But what if there hasn’t been a media storm condemning a certain costume and you still sense something is off? Like when a reader \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">wrote to us about\u003c/a> her child wanting to dress as a voodoo doll. “I don’t know enough about Louisiana culture or African religious traditions to know whether this would hurt or offend someone,” she said.\u003c/p>\n\u003cp>Her instinct that something felt off? Right on the mark. \u003cem>NPR\u003c/em>‘s Leah Donnella scouted out the origins of “voodoo” and its use as a catchall for many religions. The best known of those is Haitian Vodou, which is vastly misunderstood by Americans and is not to be confused with what you see in movies like \u003ca href=\"http://www.sciencefictionarchives.com/en/other-collections/583/original-indiana-jones-voodoo-doll\">Indiana Jones\u003c/a> or\u003ca href=\"http://religiondispatches.org/bad-magic-voodoo-according-to-disney/\"> The Princess and the Frog\u003c/a>. The conclusion, as \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">our story\u003c/a> put it, is that “when it comes to Halloween, treat Vodou like you would any other faith. That is to say, don’t delve into anyone else’s religious traditions (real or dreamed up by Hollywood) in search of a costume.”\u003c/p>\n\u003cp>All in all, you should trust your suspicions. If you have to ask yourself whether your costume is offensive, it likely is. And you don’t want to be the only one in on the joke.\u003c/p>\n\u003cp>Great. So your language is in check. Your costume is in check. You’re on track to become the best on the block. Now let’s talk decorations.\u003c/p>\n\u003cp>There are endless ways to funk up your displays: jack-o’-lanterns, broomsticks and cobwebs. But then there are optics that send a much more sinister message. In 2018 we answered a \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">question from a listener\u003c/a> who asked about hanging skeletons by a noose outside his home. Was this, he wanted to know, \u003ca href=\"https://www.nytimes.com/2019/10/25/nyregion/nooses-blackface-halloween-decorations.html\">reminiscent of a lynching\u003c/a>?\u003c/p>\n\u003cp>Well, yeah. Images carry meaning that far surpass what may appear to be true at face value. It’s our responsibility to seek that understanding even when—and especially if—our identities have shielded us from those legacies of horror. \u003ca href=\"http://www.monroeworktoday.org/lynching.html\">The era of lynching\u003c/a> in America began after Reconstruction, and between 1877 and 1950, over 4,000 African Americans were murdered in racial lynchings, often becoming public spectacles for white community residents. (Our podcast episode “\u003ca href=\"https://www.npr.org/2019/10/21/772080008/a-strange-and-bitter-crop\">A Strange and Bitter Crop\u003c/a>” explores the horror of the Claude Neal lynching of 1934.)\u003c/p>\n\u003cp>Don’t worry—you can still make use of your skeletons. NPR’s Mayowa Aina \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">suggests\u003c/a> sitting the skeleton up in a tree so it looks like someone died and decomposed or even using spiderwebs instead of rope. Decorations are fun because you can use your imagination, so get creative and avoid invoking historical trauma.\u003c/p>\n\u003cp>So this year and always, be mindful of your mischief. Entertainment this All Hallows’ Eve doesn’t have to come at a cost to anyone, and avoiding missteps doesn’t take much extra effort.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, there’s still a perennial Halloween debate that we’re not going to solve here. Even after years of controversy, the C\u003cem>ode Switch\u003c/em> team is split on this one: Is \u003ca href=\"https://twitter.com/wbaltv11/status/1184967202665046017\">candy corn\u003c/a> good or bad? We’d love to know \u003ca href=\"mailto:codeswitch@npr.org\">what side you’re on\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Code+Switch+Guide+To+Halloween&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inzsKlVR_N8\u003c/p>\n\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KyoE0mSJXO8\u003c/p>\n\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\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/inzsKlVR_N8'\n title='//www.youtube.com/embed/inzsKlVR_N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\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/KyoE0mSJXO8'\n title='//www.youtube.com/embed/KyoE0mSJXO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "prince-memoir-the-beautiful-ones-brings-to-life-a-vision-in-ones-mind",
"title": "Prince Memoir, 'The Beautiful Ones,' Brings To Life A Vision In One's Mind",
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"content": "\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>[aside tag='prince' label='More on Prince']\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "You won't get a full picture of Prince from this book, but it does manage to pierce through some of the mystery the renowned artist purposely cultivated around and about himself.",
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"title": "Prince Memoir, 'The Beautiful Ones,' Brings To Life A Vision In One's Mind | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tom DeLonge is UFO-Hunting With the Army Now Because This Timeline is Nuts",
"headTitle": "Tom DeLonge is UFO-Hunting With the Army Now Because This Timeline is Nuts | KQED",
"content": "\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JMl8cQjBfqk\u003c/p>\n\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=er1jVsxg3sc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\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/JMl8cQjBfqk'\n title='//www.youtube.com/embed/JMl8cQjBfqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/er1jVsxg3sc'\n title='//www.youtube.com/embed/er1jVsxg3sc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the place where music, technology and politics converge, you’ll find… discord. A group of more than 380 musicians — including well-known indie artists like Ted Leo, Deerhoof, Damon & Naomi, Zola Jesus, Downtown Boys and Sheer Mag — pledged in an open letter on Thursday to cut all business ties with Amazon over the work of its gargantuan Amazon Web Services (AWS) subsidiary.\u003c/p>\n\u003cp>[aside postID='arts_13849625' label='Stories For You']\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13852882' label='Apple Isn't Paying Artists Who Perform at Its Stores']\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>[aside postID='arts_13859794' label='Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It is both a positive and negative attribute of the anthology series that it tends to be uneven. \u003cem>Black Mirror \u003c/em>is, the new \u003cem>Twilight Zone \u003c/em>was, \u003cem>Room 104 \u003c/em>is. And now, Amazon is presenting an eight-episode series based on the loved, hated, and love-to-hated \u003cem>New York Times \u003c/em>column \u003cem>Modern Love\u003c/em>. Created by John Carney, who directed \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, it is—of course—uneven.\u003c/p>\n\u003cp>The column has a cozy (or is it irritating?) tendency to build itself around a hook, a little lesson about How Love Works. Each of these episodes is based on an existing column, and shares that tendency to tie itself up a little too neatly, as a New York tale with an indie-music, coffee-shop gentility. The first episode, “When The Doorman Is Your Main Man,” finds a young woman (Cristin Milioti) relying on her kindly doorman (Laurentiu Possa) to help her cope with her dating life and then her unexpected pregnancy. Another, “Rallying To Keep The Game Alive,” tracks a couple (Tina Fey and John Slattery) discovering that tennis can serve as a bond as their marriage weathers midlife stresses. “Love works this way,” each episode suggests as it tucks you into its pretty and friendly New York City like a wool blanket.\u003c/p>\n\u003cp>Carney is a curious choice to head up this series, because \u003cem>Once \u003c/em>and \u003cem>Sing Street \u003c/em>are both about ideas of love that are much less neat. In fact, perhaps surprisingly, the neatness and the lesson-learning of \u003cem>Modern Love \u003c/em>are what often makes the series seem slight. You would expect, maybe, a Carney take on a romantic anthology to be about less obvious angles than the fact that older people on their second marriages can still fall meaningfully in love, or that the last thing you want is to find yourself with regrets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=650Mt63HIBU\u003c/p>\n\u003cp>Where \u003cem>Modern Love \u003c/em>gets most of its shine is from its cast. In addition to all those mentioned above, it also features Anne Hathaway, Andrew Scott (yes, that’s Hot Priest to you \u003cem>Fleabag \u003c/em>people), Andy Garcia, James Saito, Jane Alexander, Catherine Keener, Dev Patel, and many others. It is \u003cem>definitively \u003c/em>a good idea for Tina Fey and John Slattery to play a New York married couple; that is a gift. That their story isn’t all that compelling doesn’t mean it’s not worth watching, simply to see them interact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while the stories often feel pat, there are some interesting experiments to be found here. Hathaway plays a woman who isn’t sure how to tell potential dates she’s bipolar, and the way music and fantasy sequences are deployed turn out to be a pretty effective method of demonstrating how completely different she feels like she is, depending on what her brain is doing. (It’s probably also the story that feels the least like the rest.)\u003c/p>\n\u003cp>Some episodes are more true to their source material than others. An essay by Dan Savage about the very complicated open adoption of his son becomes the episode starring Andrew Scott and Brandon Kyle Goodman as a gay couple who adopt from a homeless woman (Olivia Cooke). Where Savage’s piece is full of frustration and uncertainty about the child’s relationship with his birth mother, the episode is mostly about a worrying father-to-be learning to embrace the uncertainty of a quirky homeless person’s existence. It’s a reductive take on the story, and not at all true to either this particular real-life tale or Savage’s general posture as a writer.\u003c/p>\n\u003cp>It’s not easy to tell a romantic story in a half-hour, which is the approximate length of these episodes (within, say, five minutes). You have to establish two people (sometimes more), set the stage, create a problem, and create some resolution to that problem—in a third of the length of a feature film. And anthologies are, in general, a good thing, in that they allow for people to try things: combinations of actors, formal experiments, directing strategies, and so forth. But \u003cem>Modern Love \u003c/em>really feels like it would have benefited from less tidiness, less ponderousness—maybe even, dare I say, a little less \u003cem>New York Times\u003c/em>-iness. Where it wants to be whimsical it comes across as cloying, and where it wants to speak to something common to multiple stories of (mostly white, mostly affluent) New York love, the emotions almost feel franchised.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like the \u003cem>Modern Love \u003c/em>column itself, the series does have its pleasures and its truths. But—again, like the column—there’s a little less there than meets the eye.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=%27Modern+Love%27+Is+An+Uneven+Tour+Of+New+York+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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