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In her official Miss Universe \u003ca href=\"https://www.missuniverse.com/titleholder/1000734\">bio\u003c/a>, the 26-year-old is described as a strong proponent of natural beauty who “encourages women to love themselves as they are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She wore her hair in a natural, short style during the competition, which she \u003ca href=\"https://twitter.com/Official_MissSA/status/1203913238943031296\">said\u003c/a> was “a symbol of my firm belief in fair representation.”\u003c/p>\n\u003cp>Even her outfit in the national costume segment reflected her beliefs. Tunzi had asked South African men to demonstrate their solidarity with the gender equality campaign #HeforShe by writing letters to honor and celebrate South African women. The letters, written on colorful ribbons, were woven into her costume, which was called “Wave of Love.”\u003c/p>\n\u003cp>Her coronation at Tyler Perry Studios in Atlanta received a wide amount of social media support and celebration from around the world, with people noting how exciting it is to see that Miss America, Miss Teen USA, Miss USA and now Miss Universe are all black women this year.\u003c/p>\n\u003cp>https://twitter.com/Essence/status/1204026870301413377\u003c/p>\n\u003cp>She was also applauded for her thoughtful answers during the pageant on climate change and leadership.\u003c/p>\n\u003cp>https://twitter.com/zozitunzi/status/1203930667316371457\u003c/p>\n\u003cp>During the Top 5 question and answer segment, Tunzi stated that individuals, government leaders and corporations should all be taking action toward protecting the planet, noting that it’s time adults listen to young children who have taken part in climate strikes and protests.\u003c/p>\n\u003cp>https://twitter.com/MissUniverse/status/1203864288819064833?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1203864288819064833&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fgoatsandsoda%2F2019%2F12%2F09%2F786312377%2Fmiss-universe-2019-is-young-gifted-and-an-outspoken-believer-in-black-girl-magic\u003c/p>\n\u003cp>“Since sixth grade, I’ve been learning that the climate is deteriorating and the planet is dying, and it is up to us to keep our planet safe,” she said.\u003c/p>\n\u003cp>When asked what she thinks is the most important thing young girls should be taught today, Tunzi responded: “I think the most important thing … is leadership.”\u003c/p>\n\u003cp>“It’s something that has been lacking in young women and girls for a very long time, not because we don’t want to but because of what society has labeled women to be,” she added. “I think we are the most powerful beings in the world and that we should be given every opportunity. And that is what we should be teaching these young girls—to take up space.”\u003c/p>\n\u003cp>Her response was retweeted by Oprah Winfrey, who agreed with the sentiment and extended an invitation for Tunzi to visit the Oprah Winfrey Leadership Academy for Girls.\u003c/p>\n\u003cp>https://twitter.com/Oprah/status/1203888524107436032\u003c/p>\n\u003cp>Additionally, a clip of Tunzi addressing gender-based violence during the Miss South Africa competition began making the rounds on Twitter as people congratulated her on her new title.\u003c/p>\n\u003cp>https://twitter.com/theklmanuel/status/1204001146571878400\u003c/p>\n\u003cp>In the video, a presenter asked what reason South African women have to keep smiling despite facing challenges like emotional, physical and economic abuse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have absolutely no reason to keep smiling because South African women are dying everyday and mostly people are doing nothing about it,” Tunzi replied. “I think it’s time that we stop asking women what to do and start asking perpetrators to do better, to be better, to start treating women the way that they deserve to be treated.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Miss+Universe+2019+Is+Young%2C+Gifted+And+An+Outspoken+Believer+In+%27Black+Girl+Magic%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, the Miss Universe pageant has its share of detractors. There is, for example, that swimsuit competition.\u003c/p>\n\u003cp>But then there is this year’s winner to consider: Zozibini Tunzi of South Africa.\u003c/p>\n\u003cp>When Tunzi was crowned as the winner of the 2019 Miss Universe competition on Sunday night, she took a moment to speak about the importance of shifting antiquated beauty standards—and finally celebrating “black girl magic.”\u003c/p>\n\u003cp>“I grew up in a world where a woman who looks like me—with my kind of skin and my kind of hair—was never considered to be beautiful,” the 26-year-old said during her closing statement. “I think it is time that stops today. I want children to look at me and see my face, and I want them to see their faces reflected in mine.”\u003c/p>\n\u003cp>Tunzi is the pageant’s first black winner in eight years, since Leila Lopes from Angola took home the crown in 2011. In her official Miss Universe \u003ca href=\"https://www.missuniverse.com/titleholder/1000734\">bio\u003c/a>, the 26-year-old is described as a strong proponent of natural beauty who “encourages women to love themselves as they are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She wore her hair in a natural, short style during the competition, which she \u003ca href=\"https://twitter.com/Official_MissSA/status/1203913238943031296\">said\u003c/a> was “a symbol of my firm belief in fair representation.”\u003c/p>\n\u003cp>Even her outfit in the national costume segment reflected her beliefs. Tunzi had asked South African men to demonstrate their solidarity with the gender equality campaign #HeforShe by writing letters to honor and celebrate South African women. The letters, written on colorful ribbons, were woven into her costume, which was called “Wave of Love.”\u003c/p>\n\u003cp>Her coronation at Tyler Perry Studios in Atlanta received a wide amount of social media support and celebration from around the world, with people noting how exciting it is to see that Miss America, Miss Teen USA, Miss USA and now Miss Universe are all black women this year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>During the Top 5 question and answer segment, Tunzi stated that individuals, government leaders and corporations should all be taking action toward protecting the planet, noting that it’s time adults listen to young children who have taken part in climate strikes and protests.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Since sixth grade, I’ve been learning that the climate is deteriorating and the planet is dying, and it is up to us to keep our planet safe,” she said.\u003c/p>\n\u003cp>When asked what she thinks is the most important thing young girls should be taught today, Tunzi responded: “I think the most important thing … is leadership.”\u003c/p>\n\u003cp>“It’s something that has been lacking in young women and girls for a very long time, not because we don’t want to but because of what society has labeled women to be,” she added. “I think we are the most powerful beings in the world and that we should be given every opportunity. And that is what we should be teaching these young girls—to take up space.”\u003c/p>\n\u003cp>Her response was retweeted by Oprah Winfrey, who agreed with the sentiment and extended an invitation for Tunzi to visit the Oprah Winfrey Leadership Academy for Girls.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Additionally, a clip of Tunzi addressing gender-based violence during the Miss South Africa competition began making the rounds on Twitter as people congratulated her on her new title.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the video, a presenter asked what reason South African women have to keep smiling despite facing challenges like emotional, physical and economic abuse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have absolutely no reason to keep smiling because South African women are dying everyday and mostly people are doing nothing about it,” Tunzi replied. “I think it’s time that we stop asking women what to do and start asking perpetrators to do better, to be better, to start treating women the way that they deserve to be treated.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Miss+Universe+2019+Is+Young%2C+Gifted+And+An+Outspoken+Believer+In+%27Black+Girl+Magic%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the 1962 Escape From Alcatraz Set a Precedent For Prison Crafting",
"headTitle": "How the 1962 Escape From Alcatraz Set a Precedent For Prison Crafting | KQED",
"content": "\u003cp>For hundreds of years, crafting was considered a primarily feminine pursuit. In the past few decades, though, old stereotypes about women gossiping around sewing circles have been flipped as \u003ca href=\"https://www.pbs.org/newshour/arts/stitch-stitch-history-knitting-activism\" target=\"_blank\" rel=\"noopener noreferrer\">feminists embraced knitting and cross-stitching\u003c/a> (not to mention the great \u003ca href=\"https://www.kqed.org/pop/57692/dont-know-how-to-knit-make-your-own-pussy-hat-out-of-paper\" target=\"_blank\" rel=\"noopener noreferrer\">pussy hat frenzy\u003c/a> of 2017) as community-building exercises.\u003c/p>\n\u003cp>And in recent years, male crafters have also been bucking convention.\u003c/p>\n\u003cp>Between 2006 and 2008, half of American households contained a self-identified crafter—and they definitely weren’t all women. “Crafting is so ubiquitous now that it’s hard to put it into one demographic,” Craft & Hobby Association spokesman Victor Domine told the \u003ca href=\"https://www.denverpost.com/2009/06/12/men-take-on-female-dominated-craft-world/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Denver Post\u003c/em>\u003c/a> in 2009. “We’re seeing more men participating with a lot of pride.”\u003c/p>\n\u003cp>A surprising number of those men are in prison. California now has \u003ca href=\"https://www.nytimes.com/2017/04/02/arts/design/california-prison-arts.html?_r=1\" target=\"_blank\" rel=\"noopener noreferrer\">arts programs\u003c/a> in all 35 of its adult prisons. San Quentin’s \u003ca href=\"https://boingboing.net/2018/12/11/you-can-buy-death-row-inmate.html\" target=\"_blank\" rel=\"noopener noreferrer\">Handicraft Shop\u003c/a> sells arts and crafts made by prisoners; \u003ca href=\"https://collectivehub.com/2016/08/enter-the-maximum-security-prison-that-encourages-creativity/\" target=\"_blank\" rel=\"noopener noreferrer\">Louisiana State Penitentiary\u003c/a> hosts annual public fairs at which all \u003cem>objets d’art\u003c/em> are made by inmates; and at \u003ca href=\"https://www.theguardian.com/us-news/2019/jul/06/most-prisoners-want-to-work-the-shop-where-inmates-crafts-fill-the-shelves\" target=\"_blank\" rel=\"noopener noreferrer\">Maine state prison\u003c/a>, men make birdhouses, model boats, cutting boards and toys that are then sold in a \u003ca href=\"https://www.facebook.com/pg/MSPShowroom/about/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">showroom\u003c/a> open to the public.\u003c/p>\n\u003cp>The trend isn’t limited to the United States. In El Salvador, incarcerated gang members from the Barrio 18 and Mara Salvatrucha gangs are currently offered classes in knitting, music and DIY as part of a rehabilitation program called “Yo Cambio” or “I Change.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Brazil, designer \u003ca href=\"https://www.facebook.com/gustavosilvestrebrasil\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Silvestre\u003c/a> teaches crochet to Guarulhos inmates as part of a program called \u003ca href=\"https://www.facebook.com/projetopontofirme/\" target=\"_blank\" rel=\"noopener noreferrer\">Projeto Ponto Firme\u003c/a>; the resulting clothing is high-end enough to have been shown at São Paulo Fashion Week. And 500 miles away at Arisvaldo de Campos Pires maximum security prison, inmates have \u003ca href=\"https://qz.com/114236/theres-a-maximum-security-prison-in-brazil-where-male-inmates-are-expert-knitters/\" target=\"_blank\" rel=\"noopener noreferrer\">learned to knit and crochet\u003c/a> for local fashion designer \u003ca href=\"https://qz.com/114236/theres-a-maximum-security-prison-in-brazil-where-male-inmates-are-expert-knitters/\" target=\"_blank\" rel=\"noopener noreferrer\">Raquel Guimaraes\u003c/a>. In exchange, they earn wages and shorter sentences.\u003c/p>\n\u003cp>But the greatest story of prisoners using arts and crafts to facilitate shorter sentences happened in San Francisco, and has been world-famous for half a century. Frank Morris, John Anglin and Clarence Anglin’s daring 1962 Alcatraz escape is usually presented as a tale of anti-hero triumph; men taking charge of their own destinies to escape a seemingly inescapable island. The 1979 film \u003ca href=\"https://www.imdb.com/title/tt0079116/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Escape From Alcatraz\u003c/em>\u003c/a> saw Clint Eastwood playing Morris as the manliest of criminal masterminds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KSS0fH9zzFY\u003c/p>\n\u003cp>In truth, the key to this trio’s brilliantly conceived exit strategy was made less of machismo and more of meticulous artisanal crafting—something that’s been somewhat glossed over in the course of Alcatraz myth-making. These prisoners didn’t just sloppily throw together some props to help them along the way, they spent months sewing, painting and papier-mâché sculpting their way to freedom. It demonstrated a degree of patience, attention to detail and multitasking that defies stereotypes about the kind of men that ended up on The Rock.\u003c/p>\n\u003cp>Morris and the Anglin brothers stayed up night after night delicately sculpting their own self-portraits and carefully hand-painting perfect cardboard replicas of their cells’ air vents. Their dummy heads were constructed and molded using an ingenious mixture of concrete, toilet paper and soap, topped off with human hair from the prison barbershop.\u003c/p>\n\u003cfigure id=\"attachment_13870781\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Dummy-heads-800x474.png\" alt=\"Two of the homemade dummy heads used by the escaping prisoners to fool guards.\" width=\"800\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-800x474.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-768x455.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-1200x712.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of the homemade dummy heads used by the escaping prisoners to fool guards. \u003ccite>(YouTube/@APArchive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little attention has also been given to what intricate paint-mixers Morris and the Anglins were. Not only did they have to blend pink and white paints from the prison workshop into a convincing flesh tone for their fake heads, they had to come up with a green for the decoy vents that seamlessly matched their cell walls. There was zero space for Bob Ross happy accidents here, and none were made.\u003c/p>\n\u003cp>The trio weren’t just teaching themselves art, either. Their life vests and the large triangular raft they escaped on were fashioned from over 50 deconstructed raincoats. They somehow vulcanized the seams of the life vests, and part of the raft left behind on the roof of the cellblock (where the prisoners spent months constructing it) shows strategic gluing and impressively even hand-stitching.\u003c/p>\n\u003cfigure id=\"attachment_13870779\" class=\"wp-caption aligncenter\" style=\"max-width: 327px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/stitches-final.png\" alt=\"A discarded piece of the Alcatraz escape raft, left behind by prisoners.\" width=\"327\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/stitches-final.png 327w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/stitches-final-160x122.png 160w\" sizes=\"(max-width: 327px) 100vw, 327px\">\u003cfigcaption class=\"wp-caption-text\">A discarded piece of the Alcatraz escape raft, left behind by prisoners. \u003ccite>('Mythbusters'/Discovery Channel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, the men had to modify an accordion in order to pump up the raft once they reached Alcatraz’s shoreline, and construct paddles from wood and brass bolts that were light enough to carry across the island, but sturdy enough to guide them through the Bay’s freezing waters. Just look at this scrappy craftmanship.\u003c/p>\n\u003cfigure id=\"attachment_13870780\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/paddle-final.png\" alt=\"This paddle from the escape was found on Angel Island after the fact.\" width=\"521\" height=\"273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/paddle-final.png 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/paddle-final-160x84.png 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">This paddle from the escape was found on Angel Island after the fact. \u003ccite>('Mythbusters'/Discovery Channel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as Alcatraz sparked a heightened level of resourceful creativity in Morris and the Anglins, the harsh restrictions of prison life continue to prompt boundless inventiveness in prisoners. Even at institutions where art supplies are strictly forbidden, craftiness still finds a way. As Phyllis Kornfeld, author of \u003ca href=\"https://cellblockvisions.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cellblock Visions: Prison Art in America\u003c/em>\u003c/a>, told the \u003ca href=\"https://www.nytimes.com/2004/09/26/fashion/ingenious-crafts-projects-for-a-stircrazy-day.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> in 2004: “They do things with cigarette packs and make purses and carve soap and make sculptures with toilet paper. They’ll paint with broom straw or their own hair.”\u003c/p>\n\u003cp>Research shows that prisoners who explore their artistic sides are better behaved than their non-crafty peers. New York’s Sing Sing Correctional Facility introduced the \u003ca href=\"https://icpa.org/art-for-change-innovative-rehabilitation-programme-drastically-reduced-recidivism-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Rehabilitation Through the Arts\u003c/a> (RTA) program over 20 years ago, and has found that participants commit fewer infractions and are more likely to enroll in higher educational courses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Escape From Alcatraz\u003c/em> contains a scene in which an inmate chops off his own fingers with an axe after being denied painting privileges by the warden. The reality isn’t quite so dramatic. But what is real is the ample evidence suggesting that art and crafts are great for people behind bars—something Frank Morris and the Anglin brothers could no doubt have told authorities if they’d ever been seen again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For hundreds of years, crafting was considered a primarily feminine pursuit. In the past few decades, though, old stereotypes about women gossiping around sewing circles have been flipped as \u003ca href=\"https://www.pbs.org/newshour/arts/stitch-stitch-history-knitting-activism\" target=\"_blank\" rel=\"noopener noreferrer\">feminists embraced knitting and cross-stitching\u003c/a> (not to mention the great \u003ca href=\"https://www.kqed.org/pop/57692/dont-know-how-to-knit-make-your-own-pussy-hat-out-of-paper\" target=\"_blank\" rel=\"noopener noreferrer\">pussy hat frenzy\u003c/a> of 2017) as community-building exercises.\u003c/p>\n\u003cp>And in recent years, male crafters have also been bucking convention.\u003c/p>\n\u003cp>Between 2006 and 2008, half of American households contained a self-identified crafter—and they definitely weren’t all women. “Crafting is so ubiquitous now that it’s hard to put it into one demographic,” Craft & Hobby Association spokesman Victor Domine told the \u003ca href=\"https://www.denverpost.com/2009/06/12/men-take-on-female-dominated-craft-world/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Denver Post\u003c/em>\u003c/a> in 2009. “We’re seeing more men participating with a lot of pride.”\u003c/p>\n\u003cp>A surprising number of those men are in prison. California now has \u003ca href=\"https://www.nytimes.com/2017/04/02/arts/design/california-prison-arts.html?_r=1\" target=\"_blank\" rel=\"noopener noreferrer\">arts programs\u003c/a> in all 35 of its adult prisons. San Quentin’s \u003ca href=\"https://boingboing.net/2018/12/11/you-can-buy-death-row-inmate.html\" target=\"_blank\" rel=\"noopener noreferrer\">Handicraft Shop\u003c/a> sells arts and crafts made by prisoners; \u003ca href=\"https://collectivehub.com/2016/08/enter-the-maximum-security-prison-that-encourages-creativity/\" target=\"_blank\" rel=\"noopener noreferrer\">Louisiana State Penitentiary\u003c/a> hosts annual public fairs at which all \u003cem>objets d’art\u003c/em> are made by inmates; and at \u003ca href=\"https://www.theguardian.com/us-news/2019/jul/06/most-prisoners-want-to-work-the-shop-where-inmates-crafts-fill-the-shelves\" target=\"_blank\" rel=\"noopener noreferrer\">Maine state prison\u003c/a>, men make birdhouses, model boats, cutting boards and toys that are then sold in a \u003ca href=\"https://www.facebook.com/pg/MSPShowroom/about/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">showroom\u003c/a> open to the public.\u003c/p>\n\u003cp>The trend isn’t limited to the United States. In El Salvador, incarcerated gang members from the Barrio 18 and Mara Salvatrucha gangs are currently offered classes in knitting, music and DIY as part of a rehabilitation program called “Yo Cambio” or “I Change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Brazil, designer \u003ca href=\"https://www.facebook.com/gustavosilvestrebrasil\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Silvestre\u003c/a> teaches crochet to Guarulhos inmates as part of a program called \u003ca href=\"https://www.facebook.com/projetopontofirme/\" target=\"_blank\" rel=\"noopener noreferrer\">Projeto Ponto Firme\u003c/a>; the resulting clothing is high-end enough to have been shown at São Paulo Fashion Week. And 500 miles away at Arisvaldo de Campos Pires maximum security prison, inmates have \u003ca href=\"https://qz.com/114236/theres-a-maximum-security-prison-in-brazil-where-male-inmates-are-expert-knitters/\" target=\"_blank\" rel=\"noopener noreferrer\">learned to knit and crochet\u003c/a> for local fashion designer \u003ca href=\"https://qz.com/114236/theres-a-maximum-security-prison-in-brazil-where-male-inmates-are-expert-knitters/\" target=\"_blank\" rel=\"noopener noreferrer\">Raquel Guimaraes\u003c/a>. In exchange, they earn wages and shorter sentences.\u003c/p>\n\u003cp>But the greatest story of prisoners using arts and crafts to facilitate shorter sentences happened in San Francisco, and has been world-famous for half a century. Frank Morris, John Anglin and Clarence Anglin’s daring 1962 Alcatraz escape is usually presented as a tale of anti-hero triumph; men taking charge of their own destinies to escape a seemingly inescapable island. The 1979 film \u003ca href=\"https://www.imdb.com/title/tt0079116/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Escape From Alcatraz\u003c/em>\u003c/a> saw Clint Eastwood playing Morris as the manliest of criminal masterminds.\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/KSS0fH9zzFY'\n title='//www.youtube.com/embed/KSS0fH9zzFY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In truth, the key to this trio’s brilliantly conceived exit strategy was made less of machismo and more of meticulous artisanal crafting—something that’s been somewhat glossed over in the course of Alcatraz myth-making. These prisoners didn’t just sloppily throw together some props to help them along the way, they spent months sewing, painting and papier-mâché sculpting their way to freedom. It demonstrated a degree of patience, attention to detail and multitasking that defies stereotypes about the kind of men that ended up on The Rock.\u003c/p>\n\u003cp>Morris and the Anglin brothers stayed up night after night delicately sculpting their own self-portraits and carefully hand-painting perfect cardboard replicas of their cells’ air vents. Their dummy heads were constructed and molded using an ingenious mixture of concrete, toilet paper and soap, topped off with human hair from the prison barbershop.\u003c/p>\n\u003cfigure id=\"attachment_13870781\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Dummy-heads-800x474.png\" alt=\"Two of the homemade dummy heads used by the escaping prisoners to fool guards.\" width=\"800\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-800x474.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-768x455.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads-1200x712.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Dummy-heads.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of the homemade dummy heads used by the escaping prisoners to fool guards. \u003ccite>(YouTube/@APArchive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little attention has also been given to what intricate paint-mixers Morris and the Anglins were. Not only did they have to blend pink and white paints from the prison workshop into a convincing flesh tone for their fake heads, they had to come up with a green for the decoy vents that seamlessly matched their cell walls. There was zero space for Bob Ross happy accidents here, and none were made.\u003c/p>\n\u003cp>The trio weren’t just teaching themselves art, either. Their life vests and the large triangular raft they escaped on were fashioned from over 50 deconstructed raincoats. They somehow vulcanized the seams of the life vests, and part of the raft left behind on the roof of the cellblock (where the prisoners spent months constructing it) shows strategic gluing and impressively even hand-stitching.\u003c/p>\n\u003cfigure id=\"attachment_13870779\" class=\"wp-caption aligncenter\" style=\"max-width: 327px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/stitches-final.png\" alt=\"A discarded piece of the Alcatraz escape raft, left behind by prisoners.\" width=\"327\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/stitches-final.png 327w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/stitches-final-160x122.png 160w\" sizes=\"(max-width: 327px) 100vw, 327px\">\u003cfigcaption class=\"wp-caption-text\">A discarded piece of the Alcatraz escape raft, left behind by prisoners. \u003ccite>('Mythbusters'/Discovery Channel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, the men had to modify an accordion in order to pump up the raft once they reached Alcatraz’s shoreline, and construct paddles from wood and brass bolts that were light enough to carry across the island, but sturdy enough to guide them through the Bay’s freezing waters. Just look at this scrappy craftmanship.\u003c/p>\n\u003cfigure id=\"attachment_13870780\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/paddle-final.png\" alt=\"This paddle from the escape was found on Angel Island after the fact.\" width=\"521\" height=\"273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/paddle-final.png 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/paddle-final-160x84.png 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">This paddle from the escape was found on Angel Island after the fact. \u003ccite>('Mythbusters'/Discovery Channel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as Alcatraz sparked a heightened level of resourceful creativity in Morris and the Anglins, the harsh restrictions of prison life continue to prompt boundless inventiveness in prisoners. Even at institutions where art supplies are strictly forbidden, craftiness still finds a way. As Phyllis Kornfeld, author of \u003ca href=\"https://cellblockvisions.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cellblock Visions: Prison Art in America\u003c/em>\u003c/a>, told the \u003ca href=\"https://www.nytimes.com/2004/09/26/fashion/ingenious-crafts-projects-for-a-stircrazy-day.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> in 2004: “They do things with cigarette packs and make purses and carve soap and make sculptures with toilet paper. They’ll paint with broom straw or their own hair.”\u003c/p>\n\u003cp>Research shows that prisoners who explore their artistic sides are better behaved than their non-crafty peers. New York’s Sing Sing Correctional Facility introduced the \u003ca href=\"https://icpa.org/art-for-change-innovative-rehabilitation-programme-drastically-reduced-recidivism-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Rehabilitation Through the Arts\u003c/a> (RTA) program over 20 years ago, and has found that participants commit fewer infractions and are more likely to enroll in higher educational courses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Escape From Alcatraz\u003c/em> contains a scene in which an inmate chops off his own fingers with an axe after being denied painting privileges by the warden. The reality isn’t quite so dramatic. But what is real is the ample evidence suggesting that art and crafts are great for people behind bars—something Frank Morris and the Anglin brothers could no doubt have told authorities if they’d ever been seen again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sony’s animated short film about the beauty of black hair, \u003ca href=\"https://www.youtube.com/watch?v=kNw8V_Fkw28&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hair Love\u003c/em>\u003c/a>, just got uploaded to YouTube—and it couldn’t be more timely.\u003c/p>\n\u003cp>In late November, \u003ca href=\"https://variety.com/2019/tv/news/americas-got-talent-gabrielle-union-julianne-hough-toxic-culture-ousted-judges-1203417447/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reported\u003c/a> that Gabriel Union was told her hairstyles were “too black” while judging on \u003cem>America’s Got Talent. \u003c/em>And earlier this week, Senator Cory Booker introduced \u003ca href=\"https://www.thecrownact.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a bill\u003c/a> to ban discrimination against non-white hairstyles.\u003c/p>\n\u003cp>\u003cem>Hair Love\u003c/em>, a seven-minute short by Matthew A. Cherry, tells the story of Zuri, a gorgeous little girl with a big Afro. She needs some styling help from her doting dad for the first time, but he struggles to tame her curls. \u003cem>Hair Love\u003c/em>—also starring Issa Rae as Zuri’s mom—is about beauty, family and being there for the ones we love, no matter the challenge.\u003c/p>\n\u003cp>You can see the heartwarming film, which first hit theaters in August, in full below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kNw8V_Fkw28&feature=youtu.be\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sony’s animated short film about the beauty of black hair, \u003ca href=\"https://www.youtube.com/watch?v=kNw8V_Fkw28&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hair Love\u003c/em>\u003c/a>, just got uploaded to YouTube—and it couldn’t be more timely.\u003c/p>\n\u003cp>In late November, \u003ca href=\"https://variety.com/2019/tv/news/americas-got-talent-gabrielle-union-julianne-hough-toxic-culture-ousted-judges-1203417447/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reported\u003c/a> that Gabriel Union was told her hairstyles were “too black” while judging on \u003cem>America’s Got Talent. \u003c/em>And earlier this week, Senator Cory Booker introduced \u003ca href=\"https://www.thecrownact.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a bill\u003c/a> to ban discrimination against non-white hairstyles.\u003c/p>\n\u003cp>\u003cem>Hair Love\u003c/em>, a seven-minute short by Matthew A. Cherry, tells the story of Zuri, a gorgeous little girl with a big Afro. She needs some styling help from her doting dad for the first time, but he struggles to tame her curls. \u003cem>Hair Love\u003c/em>—also starring Issa Rae as Zuri’s mom—is about beauty, family and being there for the ones we love, no matter the challenge.\u003c/p>\n\u003cp>You can see the heartwarming film, which first hit theaters in August, in full below.\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/kNw8V_Fkw28'\n title='//www.youtube.com/embed/kNw8V_Fkw28'\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": "\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpWftLOWXLY\u003c/p>\n\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=94bdMSCdw20\u003c/p>\n\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mcPDgWMkEiM\u003c/p>\n\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3&v=3u4Pe2YHH-Y&feature=emb_logo\u003c/p>\n\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Po61rjjdUPs\u003c/p>\n\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4W9VYY5QpLg\u003c/p>\n\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\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/zpWftLOWXLY'\n title='//www.youtube.com/embed/zpWftLOWXLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\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/94bdMSCdw20'\n title='//www.youtube.com/embed/94bdMSCdw20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\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/mcPDgWMkEiM'\n title='//www.youtube.com/embed/mcPDgWMkEiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\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/3u4Pe2YHH-Y'\n title='//www.youtube.com/embed/3u4Pe2YHH-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\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/Po61rjjdUPs'\n title='//www.youtube.com/embed/Po61rjjdUPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\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/4W9VYY5QpLg'\n title='//www.youtube.com/embed/4W9VYY5QpLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kelly Clarkson and Fred Rogers. Both are much-loved national treasures who embody family values and wholesome hearts. So it made perfect sense on Tuesday when everyone’s favorite \u003cem>American Idol\u003c/em> winner covered Mister Rogers’ classic “Won’t You Be My Neighbor?”\u003c/p>\n\u003cp>Clarkson gave the theme tune a soulful, easy listening vibe as part of her \u003ca href=\"https://www.nbc.com/kelly-clarkson-show\" target=\"_blank\" rel=\"noopener noreferrer\">daytime talk show\u003c/a> on NBC. The cover was chosen to tie in with Tuesday’s guest, Tom Hanks, who was appearing in support of his role playing Rogers in the new movie \u003ca href=\"https://www.imdb.com/title/tt3224458/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Beautiful Day in the Neighborhood\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You can hear Kelly’s laid back jazzy take on the song below. (And if you pay close attention, you’ll notice some very special outfits in the audience…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nngz6cAKsaE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>She was the rescued feral cat from Indiana with dreamy green eyes, four extra toes and a tongue even more famous than Miley’s. But on Monday morning, news broke that \u003ca href=\"http://lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil BUB\u003c/a> had waddled off to the catnip palace in the sky, breaking the hearts of her 3 million Facebook fans.\u003c/p>\n\u003cp>https://twitter.com/IAMLILBUB/status/1201552296489967621\u003c/p>\n\u003cp>Never held back by her dwarfism, in her short life this four-pound kitty achieved more than many humans five times her age. BUB helped out creatures less fortunate than herself by raising over $300,000 for the ASPCA via \u003ca href=\"https://store.lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">merch sales\u003c/a>, public appearances and other \u003ca href=\"https://secure.aspca.org/donate/lilbub\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> efforts. Possibly even more remarkably, an hour-long video of her \u003ca href=\"https://www.youtube.com/watch?v=ZuHZSbPJhaY\" target=\"_blank\" rel=\"noopener noreferrer\">purring in front of a fireplace\u003c/a> once garnered over 4 million views on YouTube.\u003c/p>\n\u003cp>And that’s not all. In addition to authoring her own book, \u003ca href=\"https://www.amazon.com/Lil-BUBs-Book-Extraordinary-Amazing/dp/B00NAK01KQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB’s Lil Book: The Extraordinary Life of the Most Amazing Cat on the Planet\u003c/em>\u003c/a>, BUB also appeared in two movies—\u003ca href=\"https://www.imdb.com/title/tt4383594/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nine Lives\u003c/em>\u003c/a> (starring Christopher Walken!) and \u003ca href=\"https://www.imdb.com/title/tt4057146/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’ll Be Next Door For Christmas\u003c/em>\u003c/a>—as well as a documentary about her life and origins, titled \u003ca href=\"https://www.youtube.com/watch?v=gNyW-GKOG2k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB & Friends\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her YouTube talk show (why \u003cem>wouldn’t\u003c/em> she have one of those?) featured guests like \u003ca href=\"https://www.youtube.com/watch?v=mbICDkQb46g\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Obama\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=r7tETcTnQcM\" target=\"_blank\" rel=\"noopener noreferrer\">Whoopi Goldberg\u003c/a> and punk rock hero \u003ca href=\"https://www.youtube.com/watch?v=HW4mwjSIkoE\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Albini\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r7tETcTnQcM&t=173s\u003c/p>\n\u003cp>BUB tried to sum up her own enduring appeal in her book. “My limitless wisdom and razor-sharp wit, paired with my ability to overcome disabilities,” she wrote, “provide laughter, hope and inspiration to humans all over the world.” Arguably though, her spirit was best captured on the duet she recorded with party pal Andrew WK, on which he sang: “Stronger than a lion / Cuter than a baby / You bounce through space / Like a magical feline lady.”\u003c/p>\n\u003cp>She does now, Andrew WK. She does now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gVYRR1Fj17M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Never held back by her dwarfism, in her short life this four-pound kitty achieved more than many humans five times her age. BUB helped out creatures less fortunate than herself by raising over $300,000 for the ASPCA via \u003ca href=\"https://store.lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">merch sales\u003c/a>, public appearances and other \u003ca href=\"https://secure.aspca.org/donate/lilbub\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> efforts. Possibly even more remarkably, an hour-long video of her \u003ca href=\"https://www.youtube.com/watch?v=ZuHZSbPJhaY\" target=\"_blank\" rel=\"noopener noreferrer\">purring in front of a fireplace\u003c/a> once garnered over 4 million views on YouTube.\u003c/p>\n\u003cp>And that’s not all. In addition to authoring her own book, \u003ca href=\"https://www.amazon.com/Lil-BUBs-Book-Extraordinary-Amazing/dp/B00NAK01KQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB’s Lil Book: The Extraordinary Life of the Most Amazing Cat on the Planet\u003c/em>\u003c/a>, BUB also appeared in two movies—\u003ca href=\"https://www.imdb.com/title/tt4383594/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nine Lives\u003c/em>\u003c/a> (starring Christopher Walken!) and \u003ca href=\"https://www.imdb.com/title/tt4057146/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’ll Be Next Door For Christmas\u003c/em>\u003c/a>—as well as a documentary about her life and origins, titled \u003ca href=\"https://www.youtube.com/watch?v=gNyW-GKOG2k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB & Friends\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her YouTube talk show (why \u003cem>wouldn’t\u003c/em> she have one of those?) featured guests like \u003ca href=\"https://www.youtube.com/watch?v=mbICDkQb46g\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Obama\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=r7tETcTnQcM\" target=\"_blank\" rel=\"noopener noreferrer\">Whoopi Goldberg\u003c/a> and punk rock hero \u003ca href=\"https://www.youtube.com/watch?v=HW4mwjSIkoE\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Albini\u003c/a>.\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/r7tETcTnQcM'\n title='//www.youtube.com/embed/r7tETcTnQcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>BUB tried to sum up her own enduring appeal in her book. “My limitless wisdom and razor-sharp wit, paired with my ability to overcome disabilities,” she wrote, “provide laughter, hope and inspiration to humans all over the world.” Arguably though, her spirit was best captured on the duet she recorded with party pal Andrew WK, on which he sang: “Stronger than a lion / Cuter than a baby / You bounce through space / Like a magical feline lady.”\u003c/p>\n\u003cp>She does now, Andrew WK. She does now.\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/gVYRR1Fj17M'\n title='//www.youtube.com/embed/gVYRR1Fj17M'\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": "\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i_o69a9ZFFA\u003c/p>\n\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAdboa7jWZo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\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 noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\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/i_o69a9ZFFA'\n title='//www.youtube.com/embed/i_o69a9ZFFA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\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/vAdboa7jWZo'\n title='//www.youtube.com/embed/vAdboa7jWZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\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 noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the 50th anniversary of \u003cem>Sesame Street\u003c/em>‘s debut this month, and to celebrate, we dug deep in our archives here at KQED—\u003cem>really\u003c/em> deep.\u003c/p>\n\u003cp>In 1969, it turns out, a special \u003cem>Sesame Street\u003c/em>-decorated Jeep was employed to promote the new children’s television show. Watch in our archival footage above as it drives through the streets of San Francisco, down Van Ness and along the Marina, turning heads and getting the word out about \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>Kids might not have known the show yet, but they certainly reacted to the colorful car driving though the city, crowding around with gleeful excitement. It was the beginning, clearly, of something special.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> [aside tag='fred-rogers, mister-rogers, fredrogers, misterrogers' label='Learning from Mister Rogers']\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Reality TV Became the Most Life-Threatening Genre in the World",
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"content": "\u003cp>Former \u003cem>American Idol\u003c/em> and \u003cem>Fear Factor\u003c/em> contestant, \u003ca href=\"https://en.wikipedia.org/wiki/Antonella_Barba\" target=\"_blank\" rel=\"noopener noreferrer\">Antonella Barba\u003c/a>, was sentenced to three years and nine months in prison this week after being caught with nearly two pounds of fentanyl. During the trial, \u003ca href=\"https://pagesix.com/2019/11/20/american-idol-star-antonella-barba-blames-show-for-drug-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">her attorney stated\u003c/a> that: “The \u003cem>American Idol\u003c/em> experience brought about a detrimental change in Ms. Barba’s life.”\u003c/p>\n\u003cp>It may not have altered the outcome of her trial, but there is ample evidence to suggest that participating in reality TV competitions can be terrible for your health. Substance abuse has proven to be a recurring issue. \u003ca href=\"https://en.wikipedia.org/wiki/Todd_Herzog\">\u003cem>Survivor China\u003c/em>\u003c/a> winner Todd Herzog reportedly didn’t drink before the show, but has since battled alcoholism; \u003cem>Big Brother\u003c/em> winner \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">Adam Jasinski\u003c/a> developed an addiction and was caught attempting to sell oxycodone; and \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">\u003cem>Storage Wars\u003c/em>‘ Mark Balelo\u003c/a> killed himself two days after being arrested for meth possession.\u003c/p>\n\u003cp>From \u003cem>America’s Next Top Model \u003c/em>alone\u003cem>,\u003c/em> \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Jael Strauss\u003c/a> developed a major meth habit; \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Lisa D’Amato\u003c/a> ended up on \u003cem>Celebrity Rehab\u003c/em> thanks to amphetamines, cocaine, mushrooms and alcohol dependency; and Renee Alway, six years after her elimination, \u003ca href=\"https://abcnews.go.com/Entertainment/renee-alway-americas-top-model-prison/story?id=28236042\">landed herself a 12-year prison\u003c/a> sentence for multiple burglaries, car thefts and weapons charges stemming from a heroin addiction. Alway says that after the show, “It was just closed door after closed door… I couldn’t get past the reality TV stigma that had been put on me… and then there’s the pressure of the fans. ‘Where are you?’ ‘What happened?’ It’s almost like a setup for failure.”\u003c/p>\n\u003cp>https://youtu.be/qy3c4dNzEJ0?t=203\u003c/p>\n\u003cp>Reality TV is now such a ubiquitous genre, it’s easy to forget that, especially for regular people with zero media training, the whirlwind of having one’s life put under a microscope and dissected on social media can be far more than anxiety-inducing—it can be literally life-endangering. The list of post-reality TV suicides is sobering, to say the least.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two Season 14 \u003cem>Bachelor\u003c/em> contestants, \u003ca href=\"https://bachelor-nation.fandom.com/wiki/Alexa_McAllister\">Alexa McAllister\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gia_Allemand\">Gia Allemand\u003c/a>, committed suicide after the show, as did \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/bachelorette-contestant-julien-hugs-suicide-note-read-aloud-at-funeral-20101311/\">Julien Hug\u003c/a> who appeared on \u003cem>The Bachelorette\u003c/em> in 2009. \u003cem>Kitchen Nightmares’\u003c/em> \u003ca href=\"https://www.imdb.com/news/ni4642572\">Joseph Cerniglia\u003c/a> jumped off a bridge, while \u003cem>Hell’s Kitchen\u003c/em> contestant \u003ca href=\"https://hellskitchen.fandom.com/wiki/Rachel_Brown\">Rachel Brown\u003c/a> and \u003cem>MasterChef\u003c/em>’s \u003ca href=\"https://www.cnn.com/2013/10/13/showbiz/masterchef-joshua-marks-suicide/index.html\">Joshua Marks\u003c/a> shot themselves. \u003cem>The Voice\u003c/em>’s \u003ca href=\"https://woldcnews.com/1515526/anthony-riley-former-voice-contestant-dies-of-apparent-suicide/\">Anthony Riley\u003c/a> and \u003cem>X Factor\u003c/em> contestant \u003ca href=\"https://en.wikipedia.org/wiki/Simone_Battle\">Simone Battle\u003c/a> both hanged themselves. \u003ca href=\"https://www.youtube.com/watch?v=qtOesRewO9c\">Paula Goodspeed\u003c/a> took an overdose in front of Paula Abdul’s house after being rejected from \u003cem>American Idol\u003c/em>. And before \u003cem>Real Housewives of Beverly Hills\u003c/em>‘ \u003ca href=\"https://www.eonline.com/fr/news/258422/timeline-of-a-tragedy-real-housewives-russell-armstrong-was-always-depressed\">Russell Armstrong\u003c/a> killed himself in 2011, he said that being on TV “took our manageable problems and made them worse.”\u003c/p>\n\u003cp>In the UK, \u003cem>Love Island\u003c/em> contestants have been the subject of much concern, after two, \u003ca href=\"https://en.wikipedia.org/wikihttps://en.wikipedia.org/wiki/Mike_Thalassitis/Mike_Thalassitis\">Mike Thalassitis\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sophie_Gradon\">Sophie Gradon\u003c/a>, took their own lives. Gradon’s boyfriend \u003ca href=\"https://www.bbc.com/news/uk-england-tyne-47623086\">Aaron Armstrong\u003c/a> followed suit less than three weeks after she died. And he’s not the only spouse to have suffered—after appearing on \u003cem>Megan Wants A Millionaire\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Jasmine_Fiore\">Ryan Jenkins\u003c/a> murdered his girlfriend, Jasmine Fiore, then hanged himself.\u003c/p>\n\u003cp>Serious issues were established decades ago around the well-being of individuals who appear on reality TV. In 1995, 32-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Scott_Amedure\">Scott Amedure\u003c/a> was murdered after sharing fantasies about his friend Jonathan Schmitz on \u003cem>The Jenny Jones Show. \u003c/em>Schmitz had been told that he was there to meet a secret admirer, whom he had assumed would be a woman. Three days after the friends appeared on the show, Schmitz killed Amedure with a shotgun.\u003c/p>\n\u003cp>Five years later, Nancy Campbell-Panitz was beaten to death by her ex-husband, Ralf Panitz, after the pair appeared in a \u003cem>Jerry Springer\u003c/em> episode titled “Secret Mistresses Confronted.” Panitz was convicted of \u003ca href=\"https://www.cbsnews.com/news/jerry-springer-murder-conviction/\">second degree murder\u003c/a>. That same year, the talk show \u003ca href=\"https://en.wikipedia.org/wiki/Forgive_or_Forget\">\u003cem>Forgive Or Forget\u003c/em>\u003c/a>, hosted by Robin Givens, featured a 17-year-old named \u003ca href=\"https://www.theguardian.com/g2/story/0,3604,347943,00.html\">Charlene Burkey\u003c/a>, who was pregnant with her third child. Her boyfriend Larry Kieper appeared alongside her, skipping out on a court date related to weapons possession charges to do so. The night before the show aired, Burkey was shot twice in the head. Two friends of Kieper’s were arrested and charged with her murder.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EvUzzbzFNc\u003c/p>\n\u003cp>Both the families of Amedure and Campbell-Panitz sued the TV networks responsible for \u003cem>Jones\u003c/em> and \u003cem>Springer\u003c/em>. But after a Court of Appeals verdict overturned a $30 million dollar award to Scott Amedure’s family, stating that TV shows have no legal duty to protect their guests, Campbell-Panitz’s son dropped his lawsuit. Both shows continued for many years, and the controversial format was adopted by other countries around the world.\u003c/p>\n\u003cp>Just this year, in May, a 63-year-old man named \u003ca href=\"https://www.yahoo.com/entertainment/talk-show-guest-died-by-suicide-after-failing-liedetector-test-onair-and-being-dumped-by-his-girlfriend-123837728.html\">Steve Dymond took his own life\u003c/a> a week after appearing on Britain’s premier tabloid talk show. During his appearance on \u003cem>The Jeremy Kyle Show \u003c/em>(somewhere in tone between \u003cem>Jerry Springer\u003c/em> and \u003cem>Dr. Phil\u003c/em>)\u003cem>, \u003c/em>Dymond had been given a polygraph test that concluded that he had been unfaithful to his fiancé. She promptly broke up with him. During the highly-publicized inquest into his death, it was revealed that two hours before being sent home from the studio, Dymond told a researcher for the show that \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/07/jeremy-kyle-show-guest-said-i-wish-i-was-dead-coroner-told\" target=\"_blank\" rel=\"noopener noreferrer\">he wished he was dead\u003c/a>.\u003c/p>\n\u003cp>In response to the furor following Dymond’s death, Carla Wright, an ex-TV researcher on \u003cem>The Trisha Goddard Show—\u003c/em>which ran from 1998 to 2009 in the UK, and between 2012 and 2014 in the US—\u003ca href=\"https://www.theguardian.com/commentisfree/2019/may/15/jeremy-kyle-cruelty-guests-death-show-tv\">admitted in \u003cem>The Guardian\u003c/em>\u003c/a> that little regard was given to the welfare of the guests on these kinds of shows. “We pounced on them, with their lives in crisis,” she wrote, “and told them this was a chance to make positive change… For compliance, we would do a mental health check asking about medication, diagnosis and suicide attempts. Depression and anxiety were okay, as far as we were concerned.”\u003c/p>\n\u003cp>One \u003cem>Love Island\u003c/em> contestant, \u003ca href=\"https://twitter.com/_domlever?lang=en\">Dom Lever\u003c/a>, confirmed on Twitter after his time on the show that, “You get a psychological evaluation before and after you go on the show, but hands down, once you are done on the show, you don’t get any support unless you’re number one.”\u003c/p>\n\u003cp>As the public chews up and spits out contestant after contestant on a neverending assembly line of shows, it’s increasingly apparent that not enough is being done to safeguard the health and safety of those participating. These shows have always been guilty pleasures for most of us. But what happens when the guilt starts to outweigh the pleasure?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If the networks expect us to keep tuning in, they need to do far more to protect the people that appear on them. Frankly, that should have started decades ago.\u003c/p>\n\n",
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"excerpt": "As Antonella Barba goes to prison, a look back at the many former reality TV contestants who've faced death, drug use, suicide and mental illness.",
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"description": "As Antonella Barba goes to prison, a look back at the many former reality TV contestants who've faced death, drug use, suicide and mental illness.",
"title": "How Reality TV Became the Most Life-Threatening Genre in the World | KQED",
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"headline": "How Reality TV Became the Most Life-Threatening Genre in the World",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former \u003cem>American Idol\u003c/em> and \u003cem>Fear Factor\u003c/em> contestant, \u003ca href=\"https://en.wikipedia.org/wiki/Antonella_Barba\" target=\"_blank\" rel=\"noopener noreferrer\">Antonella Barba\u003c/a>, was sentenced to three years and nine months in prison this week after being caught with nearly two pounds of fentanyl. During the trial, \u003ca href=\"https://pagesix.com/2019/11/20/american-idol-star-antonella-barba-blames-show-for-drug-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">her attorney stated\u003c/a> that: “The \u003cem>American Idol\u003c/em> experience brought about a detrimental change in Ms. Barba’s life.”\u003c/p>\n\u003cp>It may not have altered the outcome of her trial, but there is ample evidence to suggest that participating in reality TV competitions can be terrible for your health. Substance abuse has proven to be a recurring issue. \u003ca href=\"https://en.wikipedia.org/wiki/Todd_Herzog\">\u003cem>Survivor China\u003c/em>\u003c/a> winner Todd Herzog reportedly didn’t drink before the show, but has since battled alcoholism; \u003cem>Big Brother\u003c/em> winner \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">Adam Jasinski\u003c/a> developed an addiction and was caught attempting to sell oxycodone; and \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">\u003cem>Storage Wars\u003c/em>‘ Mark Balelo\u003c/a> killed himself two days after being arrested for meth possession.\u003c/p>\n\u003cp>From \u003cem>America’s Next Top Model \u003c/em>alone\u003cem>,\u003c/em> \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Jael Strauss\u003c/a> developed a major meth habit; \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Lisa D’Amato\u003c/a> ended up on \u003cem>Celebrity Rehab\u003c/em> thanks to amphetamines, cocaine, mushrooms and alcohol dependency; and Renee Alway, six years after her elimination, \u003ca href=\"https://abcnews.go.com/Entertainment/renee-alway-americas-top-model-prison/story?id=28236042\">landed herself a 12-year prison\u003c/a> sentence for multiple burglaries, car thefts and weapons charges stemming from a heroin addiction. Alway says that after the show, “It was just closed door after closed door… I couldn’t get past the reality TV stigma that had been put on me… and then there’s the pressure of the fans. ‘Where are you?’ ‘What happened?’ It’s almost like a setup for failure.”\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/qy3c4dNzEJ0'\n title='//www.youtube.com/embed/qy3c4dNzEJ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reality TV is now such a ubiquitous genre, it’s easy to forget that, especially for regular people with zero media training, the whirlwind of having one’s life put under a microscope and dissected on social media can be far more than anxiety-inducing—it can be literally life-endangering. The list of post-reality TV suicides is sobering, to say the least.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two Season 14 \u003cem>Bachelor\u003c/em> contestants, \u003ca href=\"https://bachelor-nation.fandom.com/wiki/Alexa_McAllister\">Alexa McAllister\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gia_Allemand\">Gia Allemand\u003c/a>, committed suicide after the show, as did \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/bachelorette-contestant-julien-hugs-suicide-note-read-aloud-at-funeral-20101311/\">Julien Hug\u003c/a> who appeared on \u003cem>The Bachelorette\u003c/em> in 2009. \u003cem>Kitchen Nightmares’\u003c/em> \u003ca href=\"https://www.imdb.com/news/ni4642572\">Joseph Cerniglia\u003c/a> jumped off a bridge, while \u003cem>Hell’s Kitchen\u003c/em> contestant \u003ca href=\"https://hellskitchen.fandom.com/wiki/Rachel_Brown\">Rachel Brown\u003c/a> and \u003cem>MasterChef\u003c/em>’s \u003ca href=\"https://www.cnn.com/2013/10/13/showbiz/masterchef-joshua-marks-suicide/index.html\">Joshua Marks\u003c/a> shot themselves. \u003cem>The Voice\u003c/em>’s \u003ca href=\"https://woldcnews.com/1515526/anthony-riley-former-voice-contestant-dies-of-apparent-suicide/\">Anthony Riley\u003c/a> and \u003cem>X Factor\u003c/em> contestant \u003ca href=\"https://en.wikipedia.org/wiki/Simone_Battle\">Simone Battle\u003c/a> both hanged themselves. \u003ca href=\"https://www.youtube.com/watch?v=qtOesRewO9c\">Paula Goodspeed\u003c/a> took an overdose in front of Paula Abdul’s house after being rejected from \u003cem>American Idol\u003c/em>. And before \u003cem>Real Housewives of Beverly Hills\u003c/em>‘ \u003ca href=\"https://www.eonline.com/fr/news/258422/timeline-of-a-tragedy-real-housewives-russell-armstrong-was-always-depressed\">Russell Armstrong\u003c/a> killed himself in 2011, he said that being on TV “took our manageable problems and made them worse.”\u003c/p>\n\u003cp>In the UK, \u003cem>Love Island\u003c/em> contestants have been the subject of much concern, after two, \u003ca href=\"https://en.wikipedia.org/wikihttps://en.wikipedia.org/wiki/Mike_Thalassitis/Mike_Thalassitis\">Mike Thalassitis\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sophie_Gradon\">Sophie Gradon\u003c/a>, took their own lives. Gradon’s boyfriend \u003ca href=\"https://www.bbc.com/news/uk-england-tyne-47623086\">Aaron Armstrong\u003c/a> followed suit less than three weeks after she died. And he’s not the only spouse to have suffered—after appearing on \u003cem>Megan Wants A Millionaire\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Jasmine_Fiore\">Ryan Jenkins\u003c/a> murdered his girlfriend, Jasmine Fiore, then hanged himself.\u003c/p>\n\u003cp>Serious issues were established decades ago around the well-being of individuals who appear on reality TV. In 1995, 32-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Scott_Amedure\">Scott Amedure\u003c/a> was murdered after sharing fantasies about his friend Jonathan Schmitz on \u003cem>The Jenny Jones Show. \u003c/em>Schmitz had been told that he was there to meet a secret admirer, whom he had assumed would be a woman. Three days after the friends appeared on the show, Schmitz killed Amedure with a shotgun.\u003c/p>\n\u003cp>Five years later, Nancy Campbell-Panitz was beaten to death by her ex-husband, Ralf Panitz, after the pair appeared in a \u003cem>Jerry Springer\u003c/em> episode titled “Secret Mistresses Confronted.” Panitz was convicted of \u003ca href=\"https://www.cbsnews.com/news/jerry-springer-murder-conviction/\">second degree murder\u003c/a>. That same year, the talk show \u003ca href=\"https://en.wikipedia.org/wiki/Forgive_or_Forget\">\u003cem>Forgive Or Forget\u003c/em>\u003c/a>, hosted by Robin Givens, featured a 17-year-old named \u003ca href=\"https://www.theguardian.com/g2/story/0,3604,347943,00.html\">Charlene Burkey\u003c/a>, who was pregnant with her third child. Her boyfriend Larry Kieper appeared alongside her, skipping out on a court date related to weapons possession charges to do so. The night before the show aired, Burkey was shot twice in the head. Two friends of Kieper’s were arrested and charged with her murder.\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/3EvUzzbzFNc'\n title='//www.youtube.com/embed/3EvUzzbzFNc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Both the families of Amedure and Campbell-Panitz sued the TV networks responsible for \u003cem>Jones\u003c/em> and \u003cem>Springer\u003c/em>. But after a Court of Appeals verdict overturned a $30 million dollar award to Scott Amedure’s family, stating that TV shows have no legal duty to protect their guests, Campbell-Panitz’s son dropped his lawsuit. Both shows continued for many years, and the controversial format was adopted by other countries around the world.\u003c/p>\n\u003cp>Just this year, in May, a 63-year-old man named \u003ca href=\"https://www.yahoo.com/entertainment/talk-show-guest-died-by-suicide-after-failing-liedetector-test-onair-and-being-dumped-by-his-girlfriend-123837728.html\">Steve Dymond took his own life\u003c/a> a week after appearing on Britain’s premier tabloid talk show. During his appearance on \u003cem>The Jeremy Kyle Show \u003c/em>(somewhere in tone between \u003cem>Jerry Springer\u003c/em> and \u003cem>Dr. Phil\u003c/em>)\u003cem>, \u003c/em>Dymond had been given a polygraph test that concluded that he had been unfaithful to his fiancé. She promptly broke up with him. During the highly-publicized inquest into his death, it was revealed that two hours before being sent home from the studio, Dymond told a researcher for the show that \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/07/jeremy-kyle-show-guest-said-i-wish-i-was-dead-coroner-told\" target=\"_blank\" rel=\"noopener noreferrer\">he wished he was dead\u003c/a>.\u003c/p>\n\u003cp>In response to the furor following Dymond’s death, Carla Wright, an ex-TV researcher on \u003cem>The Trisha Goddard Show—\u003c/em>which ran from 1998 to 2009 in the UK, and between 2012 and 2014 in the US—\u003ca href=\"https://www.theguardian.com/commentisfree/2019/may/15/jeremy-kyle-cruelty-guests-death-show-tv\">admitted in \u003cem>The Guardian\u003c/em>\u003c/a> that little regard was given to the welfare of the guests on these kinds of shows. “We pounced on them, with their lives in crisis,” she wrote, “and told them this was a chance to make positive change… For compliance, we would do a mental health check asking about medication, diagnosis and suicide attempts. Depression and anxiety were okay, as far as we were concerned.”\u003c/p>\n\u003cp>One \u003cem>Love Island\u003c/em> contestant, \u003ca href=\"https://twitter.com/_domlever?lang=en\">Dom Lever\u003c/a>, confirmed on Twitter after his time on the show that, “You get a psychological evaluation before and after you go on the show, but hands down, once you are done on the show, you don’t get any support unless you’re number one.”\u003c/p>\n\u003cp>As the public chews up and spits out contestant after contestant on a neverending assembly line of shows, it’s increasingly apparent that not enough is being done to safeguard the health and safety of those participating. These shows have always been guilty pleasures for most of us. But what happens when the guilt starts to outweigh the pleasure?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the networks expect us to keep tuning in, they need to do far more to protect the people that appear on them. Frankly, that should have started decades ago.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation",
"headTitle": "Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation | KQED",
"content": "\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>[aside postid='arts_13889944']“I don’t think that people generally realize what the motion picture industry has done to the American Indian,” \u003ca href=\"https://www.youtube.com/watch?v=LAPDQ5MlLxE\" target=\"_blank\" rel=\"noopener noreferrer\">Brando told Dick Cavett\u003c/a> in 1973. “How deeply these people are injured… Children… seeing Indians represented as savage, vicious, ugly, nasty, treacherous, drunken. They grow up with only a negative image of themselves and it lasts a lifetime.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13882943']“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1FPjQbXvazY\u003c/p>\n\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n",
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"excerpt": "The Alcatraz occupation marked a major turning point in the public perception of Native American activism—and support from actors like Marlon Brando, Jane Fonda and Anthony Quinn was a factor in that.",
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"description": "The Alcatraz occupation marked a major turning point in the public perception of Native American activism—and support from actors like Marlon Brando, Jane Fonda and Anthony Quinn was a factor in that.",
"title": "Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation | KQED",
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"headline": "Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\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/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I don’t think that people generally realize what the motion picture industry has done to the American Indian,” \u003ca href=\"https://www.youtube.com/watch?v=LAPDQ5MlLxE\" target=\"_blank\" rel=\"noopener noreferrer\">Brando told Dick Cavett\u003c/a> in 1973. “How deeply these people are injured… Children… seeing Indians represented as savage, vicious, ugly, nasty, treacherous, drunken. They grow up with only a negative image of themselves and it lasts a lifetime.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\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/1FPjQbXvazY'\n title='//www.youtube.com/embed/1FPjQbXvazY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"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": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"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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