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"content": "\u003cp>As Lupita Nyong’o accepted an award from the Harlem School of Arts — and entered the stage to Beyoncé’s anthemic hit “Brown Skin Girl” — the actress mainly had two people to thank for fueling her passion for the arts as a child: her parents.\u003c/p>\n\u003cp>“I was thinking about (the Harlem School of Arts) and what it does for children and its students (and) I didn’t have an institution where I’m in from in Nairobi, Kenya. And so the only way my interest in the arts thrived was because I had parents who valued those interests,” she said Monday night at the school’s annual Mask Ball in New York City. “And my mother in particular, she really nurtured my artistic spirit.”\u003c/p>\n\u003cp>So it was only appropriate that the Oscar winner’s mother, Dorothy Nyong’o, also received the Visionary Lineage Award alongside her daughter at The Plaza Hotel.\u003c/p>\n\u003cp>“I really didn’t do much,” Dorothy Nyong’o said to laughs from the audience, which included staff and students from the Harlem School of Arts, board members, donors and more.\u003c/p>\n\u003cp>Dorothy Nyong’o said she noticed her daughter’s interest in the arts as a child and so she looked “for opportunities to nurture that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My job was really to facilitate it and I’d like to encourage parents to do it. Sometimes we make the mistake of trying to make our children what we think we want,” she said.\u003c/p>\n\u003cp>Dorothy Nyong’o won over the audience with more sweet words for her 36-year-old daughter, who has appeared in films such as “Black Panther,” ″Star Wars,” ″Us” and “12 Years a Slave,” for which she won an Academy Award.\u003c/p>\n\u003cp>“I’m proud of her. She makes me shine.”\u003c/p>\n\u003cp>Lupita Nyong’o, who earned a Tony nomination for her lead role in Broadway’s “Eclipsed,” thanked her mom for all of her support, explaining that when she was a teenager her mother “drove to rehearsals after a long day at work” and sat “in the car for five or so hours … and she never complained.”\u003c/p>\n\u003cp>“The Daily Show” host Trevor Noah introduced the Nyong’os to the stage, and they left the stage as “Brown Skin Girl” — a song celebrating dark-skinned women where Beyoncé namedrops Lupita’s name — blasted in the background.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other honorees at Monday’s benefit — which raised more than $100,000 in text message donations and featured performances from students, alumni and staff — included Essence Communications CEO Michelle Ebanks and JP Morgan Chase executive Racquel Oden.\u003c/p>\n\n",
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"content": "\u003cp>For a while there, in the aftermath of his \u003cem>Home Alone\u003c/em> fame, it seemed like Macaulay Culkin might go the route of the tragic child star. He fired his own dad for stealing money from him; he got married at age 18 and was separated by 20; he was briefly jailed in 2004 for possession of weed and a variety of prescription pills. He was \u003cem>also\u003c/em> friends with Michael Jackson, for crying out loud.\u003c/p>\n\u003cp>But in the last decade, Macaulay Culkin has fashioned a place for himself in American pop culture that is consistently and unequivocally a surreal joy to behold—and he doesn’t get nearly enough mainstream attention for it.\u003c/p>\n\u003cp>Just this week, he took it upon himself to jump on stage with Lizzo at the Hollywood Palladium in order to do “The Sprinkler” and a bunch of other dance moves that suggest he knows exactly how bad he is at dancing.\u003c/p>\n\u003cp>Still, he was pleased enough with the end result to post a clip to Twitter:\u003c/p>\n\u003cp>https://twitter.com/IncredibleCulk/status/1186536743379456000\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=129&v=1Tn3rXeylkQ\u003c/p>\n\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\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/1Tn3rXeylkQ'\n title='//www.youtube.com/embed/1Tn3rXeylkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actress Alexis Bledel has been bookish and sweet on “Gilmore Girls” and “Sisterhood of the Traveling Pants.” But the actress herself is now officially dangerous.\u003c/p>\n\u003cp>Cybersecurity firm McAfee on Monday crowned Bledel the most dangerous celebrity on the internet in 2019. No other celebrity was more likely to land users on websites that carry viruses or malware.\u003c/p>\n\u003cp>Trailing Bledel at No. 2 is talk show host James Corden, followed by “Game of Thrones” star Sophie Turner, actress Anna Kendrick, movie star Lupita Nyong’o, talk show star Jimmy Fallon, martial arts master Jackie Chan, the rappers Lil Wayne and Nicki Minaj, and finally Marvel actress Tessa Thompson at No. 10.\u003c/p>\n\u003cp>[aside tag='pop-culture, kqed-pop' label='More News For You']\u003c/p>\n\u003cp>The survey is meant to highlight the danger of clicking on suspicious links. Bad actors will attach malware and malicious links to famous names, hoping fans searching for videos on the internet will fall victim. McAfee urges internet users to consider risks associated with searching for pirated content and always apply updated security fixes.\u003c/p>\n\u003cp>“Consumers may not be fully aware that the searches they conduct pose risk, nor may they understand the detrimental effects that can occur when personal information is compromised in exchange for access to their favorite celebrities, movies, TV shows or music,” Gary Davis, chief consumer security evangelist at McAfee, said in a statement.\u003c/p>\n\u003cp>Davis explained that Bledel and Turner likely landed on the list this year due to their respective roles in the popular shows “The Handmaid’s Tale” on Hulu and “Game of Thrones” on HBO, both subscriber-based services.\u003c/p>\n\u003cp>Talk show hosts Corden and Fallon probably landed on the list due to viral videos of their shows, while interest in “Star Wars: The Rise of Skywalker” likely put Nyong’o so high. Lil Wayne’s summer tour with Blink-182 may have prompted fans to search for illegal downloads.\u003c/p>\n\u003cp>Chan’s name on the list may be a surprise since he has kept a relatively low profile of late, but Davis explained that rumors circulated this year that the actor might return to the big screen in “Rush Hour 4” and “The Karate Kid 2.” His team denied the gossip, but cybercriminals jumped in, hoping to “target fans who were overcome by nostalgia and less cautious about their personal security.”\u003c/p>\n\u003cp>Bledel takes over top spot from Ruby Rose, who led last year’s list largely because of interest in her playing Batwoman. This year’s list also indicates interest in reality stars may have waned. Kristen Cavallari and Kourtney Kardashian, who both found themselves in last year’s top 10 list, dropped to No. 214 and No. 222, respectively.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey is meant to highlight the danger of clicking on suspicious links. Bad actors will attach malware and malicious links to famous names, hoping fans searching for videos on the internet will fall victim. McAfee urges internet users to consider risks associated with searching for pirated content and always apply updated security fixes.\u003c/p>\n\u003cp>“Consumers may not be fully aware that the searches they conduct pose risk, nor may they understand the detrimental effects that can occur when personal information is compromised in exchange for access to their favorite celebrities, movies, TV shows or music,” Gary Davis, chief consumer security evangelist at McAfee, said in a statement.\u003c/p>\n\u003cp>Davis explained that Bledel and Turner likely landed on the list this year due to their respective roles in the popular shows “The Handmaid’s Tale” on Hulu and “Game of Thrones” on HBO, both subscriber-based services.\u003c/p>\n\u003cp>Talk show hosts Corden and Fallon probably landed on the list due to viral videos of their shows, while interest in “Star Wars: The Rise of Skywalker” likely put Nyong’o so high. Lil Wayne’s summer tour with Blink-182 may have prompted fans to search for illegal downloads.\u003c/p>\n\u003cp>Chan’s name on the list may be a surprise since he has kept a relatively low profile of late, but Davis explained that rumors circulated this year that the actor might return to the big screen in “Rush Hour 4” and “The Karate Kid 2.” His team denied the gossip, but cybercriminals jumped in, hoping to “target fans who were overcome by nostalgia and less cautious about their personal security.”\u003c/p>\n\u003cp>Bledel takes over top spot from Ruby Rose, who led last year’s list largely because of interest in her playing Batwoman. This year’s list also indicates interest in reality stars may have waned. Kristen Cavallari and Kourtney Kardashian, who both found themselves in last year’s top 10 list, dropped to No. 214 and No. 222, respectively.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "20 Years Later, 'Boys Don't Cry' Still Inspires Admiration and Debate",
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"content": "\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VqqqaV0Cn3M\u003c/p>\n\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\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=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VqqqaV0Cn3M'\n title='//www.youtube.com/embed/VqqqaV0Cn3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\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=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\">Taylor Swift\u003c/a> settled in for her Tiny Desk, she looked out at the 300-plus NPR employees and guests. “Wow! This is a lot of people in a tiny office!” she said. “I love it!” Then, after introducing herself, she explained her objective: “I just decided to take this as an opportunity to show you guys how the songs sounded when I first wrote them.”\u003c/p>\n\u003cp>It should come as no surprise that someone who commands stadium stages could hold court in NPR Music’s corner of our Washington, D.C. office — specifically, behind Bob Boilen’s desk — but Taylor Swift was truly at home in stripped-down, solo session mode. (“It’s just me. There’s no dancers, unfortunately,” she quipped.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=770318649&mediaId=770323524\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Opening with an acoustic rendition of “The Man,” from her 2019 album \u003cem>Lover, \u003c/em>Swift delivered a critique of gender double-standards with a sense of humor (and a perfectly deployed hair toss), Leonardo DiCaprio name-check and all. Turning to the piano for \u003cem>Lover\u003c/em>‘s title track, with a smile, she explained the guitar-string scars of the song’s bridge. Picking up the guitar again for “Death by a Thousand Cuts,” Swift confronted a question that she says has haunted her career: What will you ever do if you get happy? Across the song’s run-on thoughts and relentless searching, Swift offered an answer: She’ll continue to excel at crafting superb story-songs.\u003c/p>\n\u003cp>Though most Tiny Desk concerts stop at three songs, we couldn’t turn down the chance to hear “All Too Well” from Swift’s 2012 album, \u003ca href=\"https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album\">\u003cem>Red\u003c/em>\u003c/a>. Routinely cited by critics and fans alike as a favorite, the beloved track has become the stuff of Swiftie legends, striking in its \u003ca href=\"https://www.npr.org/2019/08/26/754300347/show-and-tell-on-lover-taylor-swift-lets-listeners-in-on-her-own-terms\">specificity\u003c/a> (that scarf!) and relatable in a way that anyone who has loved and lost can understand.\u003c/p>\n\u003cp>That sense of connection is at the heart of it all. Some 800 Tiny Desk concerts since we published our very first back \u003ca href=\"https://www.npr.org/sections/allsongs/2015/02/12/385532517/all-songs-at-15-our-first-ever-tiny-desk-concert\">in April of 2008\u003c/a>, the aim remains the same: In the midst of meetings and conference calls, Tiny Desk concerts offer respite from the workday and an opportunity to see an artist reimagine their work in a strange setting. It’s always special, but on some days, it feels downright magical. Watching Taylor Swift perform – and then interact with coworkers and guests who have grown up with her – was simply enchanting.\u003c/p>\n\u003ch3>SET LIST\u003c/h3>\n\u003cul>\n\u003cli>“The Man”\u003c/li>\n\u003cli>“Lover”\u003c/li>\n\u003cli>“Death by a Thousand Cuts”\u003c/li>\n\u003cli>“All Too Well”\u003c/li>\n\u003c/ul>\n\u003ch3>MUSICIAN\u003c/h3>\n\u003cp>\u003cem>Taylor Swift: vocals, guitar, piano\u003c/em>\u003c/p>\n\u003ch3>CREDITS\u003c/h3>\n\u003cp>\u003cem>Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineers: Josh Rogosin, Natasha Branch; Videographers: Morgan Noelle Smith, Kara Frame, Maia Stern; Associate Producer: Bobby Carter; Production Assistants: Jack Corbett, Mito Habe-Evans; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann; Photo: Bob Boilen/NPR\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\">Taylor Swift\u003c/a> settled in for her Tiny Desk, she looked out at the 300-plus NPR employees and guests. “Wow! This is a lot of people in a tiny office!” she said. “I love it!” Then, after introducing herself, she explained her objective: “I just decided to take this as an opportunity to show you guys how the songs sounded when I first wrote them.”\u003c/p>\n\u003cp>It should come as no surprise that someone who commands stadium stages could hold court in NPR Music’s corner of our Washington, D.C. office — specifically, behind Bob Boilen’s desk — but Taylor Swift was truly at home in stripped-down, solo session mode. (“It’s just me. There’s no dancers, unfortunately,” she quipped.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=770318649&mediaId=770323524\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Opening with an acoustic rendition of “The Man,” from her 2019 album \u003cem>Lover, \u003c/em>Swift delivered a critique of gender double-standards with a sense of humor (and a perfectly deployed hair toss), Leonardo DiCaprio name-check and all. Turning to the piano for \u003cem>Lover\u003c/em>‘s title track, with a smile, she explained the guitar-string scars of the song’s bridge. Picking up the guitar again for “Death by a Thousand Cuts,” Swift confronted a question that she says has haunted her career: What will you ever do if you get happy? Across the song’s run-on thoughts and relentless searching, Swift offered an answer: She’ll continue to excel at crafting superb story-songs.\u003c/p>\n\u003cp>Though most Tiny Desk concerts stop at three songs, we couldn’t turn down the chance to hear “All Too Well” from Swift’s 2012 album, \u003ca href=\"https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album\">\u003cem>Red\u003c/em>\u003c/a>. Routinely cited by critics and fans alike as a favorite, the beloved track has become the stuff of Swiftie legends, striking in its \u003ca href=\"https://www.npr.org/2019/08/26/754300347/show-and-tell-on-lover-taylor-swift-lets-listeners-in-on-her-own-terms\">specificity\u003c/a> (that scarf!) and relatable in a way that anyone who has loved and lost can understand.\u003c/p>\n\u003cp>That sense of connection is at the heart of it all. Some 800 Tiny Desk concerts since we published our very first back \u003ca href=\"https://www.npr.org/sections/allsongs/2015/02/12/385532517/all-songs-at-15-our-first-ever-tiny-desk-concert\">in April of 2008\u003c/a>, the aim remains the same: In the midst of meetings and conference calls, Tiny Desk concerts offer respite from the workday and an opportunity to see an artist reimagine their work in a strange setting. It’s always special, but on some days, it feels downright magical. Watching Taylor Swift perform – and then interact with coworkers and guests who have grown up with her – was simply enchanting.\u003c/p>\n\u003ch3>SET LIST\u003c/h3>\n\u003cul>\n\u003cli>“The Man”\u003c/li>\n\u003cli>“Lover”\u003c/li>\n\u003cli>“Death by a Thousand Cuts”\u003c/li>\n\u003cli>“All Too Well”\u003c/li>\n\u003c/ul>\n\u003ch3>MUSICIAN\u003c/h3>\n\u003cp>\u003cem>Taylor Swift: vocals, guitar, piano\u003c/em>\u003c/p>\n\u003ch3>CREDITS\u003c/h3>\n\u003cp>\u003cem>Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineers: Josh Rogosin, Natasha Branch; Videographers: Morgan Noelle Smith, Kara Frame, Maia Stern; Associate Producer: Bobby Carter; Production Assistants: Jack Corbett, Mito Habe-Evans; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann; Photo: Bob Boilen/NPR\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Ronan Farrow: 'Catch and Kill' Tactics Protected Both Weinstein and Trump",
"headTitle": "Ronan Farrow: ‘Catch and Kill’ Tactics Protected Both Weinstein and Trump | KQED",
"content": "\u003cp>Ronan Farrow’s 2017 \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">exposé \u003c/a>of the sexual misconduct allegations against film producer Harvey Weinstein in \u003cem>The New Yorker\u003c/em> earned him a Pulitzer Prize and helped usher in the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a> movement. Now, in his new book, \u003cem>Catch and Kill,\u003c/em> Farrow writes about the extreme tactics Weinstein allegedly used in an attempt to keep him from reporting the story.\u003c/p>\n\u003cp>“Harvey Weinstein’s attorneys … signed a contract with this Israeli private intelligence firm \u003ca href=\"https://www.npr.org/tags/562631560/black-cube\">Black Cube \u003c/a>explicitly tasking secret agents with killing reporting on Harvey Weinstein,” Farrow says. “There was a full-on international espionage operation that was built up around this.”\u003c/p>\n\u003cp>Farrow says that he was followed and that his house was bugged as a result of his work on the story. He eventually moved into a safe house and put his reporting documents into a safe deposit box with a note reading, “Should anything happen to me, please make sure this information is released.”\u003c/p>\n\u003cp>Farrow had started investigating Weinstein as a reporter at NBC News. But, he says, network executives blocked the story from ever being broadcast and eventually let Farrow go. Farrow speculates that the network was doing so, in part, to protect news anchor Matt Lauer, who was subsequently accused of sexual misconduct. Farrow spoke about NBC’s efforts to stifle the Weinstein story in \u003ca href=\"https://www.npr.org/2019/10/11/769326096/ronan-farrow-stands-by-his-reporting-on-nbc-s-corrosive-secrecy-around-sexual-ab\">this NPR interview\u003c/a>. NBC News has maintained that Farrow’s story on the sexual misconduct allegations was not solid—that he had no accusers on record, specifically—when it refused to move forward with the story in 2017 before he took it to \u003cem>The New Yorker\u003c/em>.\u003c/p>\n\u003cp>Farrow notes that NBC’s efforts to quash the story are part of a broader “catch and kill” strategy, whereby powerful entities and individuals go to extreme lengths to keep unfavorable stories from being reported. His book alleges that American Media Inc., the parent company of the tabloid \u003cem>National Enquirer, \u003c/em>engaged in such practices in an effort to control negative stories about then- presidential candidate Donald Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I personally reported a number of stories about cases in which AMI sought or actually did buy the rights to a story in order to get rid of it during the election, and that subsequently has become the subject of a serious criminal investigation,” Farrow says.\u003c/p>\n\u003cp>He adds that the practice of catch and kill is “used both literally in the plot with respect to several stories that AMI goes after and tries to bury for Donald Trump and others, but also figuratively about the media’s role in sometimes not just advancing, but also suppressing, stories.”\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the backlash he has experienced because of the book \u003c/strong>\u003c/p>\n\u003cp>Doing these kinds of investigations of powerful interests means that you get a whole smear machine spun up against you every single time. It happened on the Weinstein story; it happened on the CBS story; it happened on the NBC story; it happened on the AMI story. And all I can say is I’ve been immensely heartened, Terry, by the way in which fellow reporters have rallied around the journalism in this book and defended it and independently corroborated it. And the reaction has been pretty uniform.\u003c/p>\n\u003cp>Just like with the Harvey Weinstein story, I think people have seen through the spin and I think that they have correctly pulled out of this book the important themes which is there are systems still in place at some of the top institutions in this country that aid and abet and protect people accused of serious crimes and silence accusers and shut down reporting. But there are also really brave sources who continue to speak and reporters who continue to bang their heads against the wall trying to make sure the truth comes out. And I leave this process of reporting this book with immense hope and immense optimism, because I don’t see any signs of that stopping.\u003c/p>\n\u003cp>\u003cstrong>On how AMI’s catch-and-kill efforts relate to the Weinstein story\u003c/strong>\u003c/p>\n\u003cp>[AMI] had what’s called a “kill file,” which they have for various celebrities containing all of the dirt that they haven’t published on someone. … There’s various reasons why AMI doesn’t publish things. … In a number of cases they don’t publish things because of an arrangement they broker with a powerful person. … [Chief Content Officer and Vice President] Dylan Howard develops a very close relationship with Harvey Weinstein. We have all of his statements saying, “This was purely a professional relationship,” but we document [that their relationship] extended to secretly recording people who might be used to impeach Harvey Weinstein’s accusers, really going after accusers in collaboration with Harvey Weinstein.\u003c/p>\n\u003cp>\u003cstrong>On AMI’s kill file on Donald Trump \u003c/strong>\u003c/p>\n\u003cp>AMI did indeed purchase the rights to [\u003cem>Playboy \u003c/em>model] Karen McDougal’s story in order to bury it. Another story that I broke … is about a case in which they purchased the rights to a claim by a Trump Tower doorman that he was aware of a relationship Trump had had that had produced a “love child.” …\u003c/p>\n\u003cp>Like many of these catch-and-kill stories, it’s unclear whether the underlying claim has any veracity. The love child story … may or may not be spurious, and also on some level, who cares, right? … The thing that is absolutely worth caring about is the transaction, the fact that there was a potential violation of campaign finance law here and a media outlet acting as an arm of a political candidate. Here again there is an example of collaboration between the candidate and the news outlet, \u003cem>The National Enquirer, \u003c/em>to try to go after a story, and here again, the underlying claim in that lawsuit raises a lot of question marks. … But the fact that AMI went after it has not been disputed by them—they’ve confirmed it—and is yet another interesting data point in this unfolding saga which is still a subject of serious criminal investigation.\u003c/p>\n\u003cp>\u003cstrong>On Trump’s personal lawyer \u003c/strong>\u003ca href=\"https://www.npr.org/2019/02/27/696752450/michael-cohen-to-testify-publicly-before-congress-on-alleged-trump-lawbreaking\">\u003cstrong>Michael Cohen\u003c/strong>\u003c/a>\u003cstrong> going to the \u003c/strong>\u003cem>\u003cstrong>Enquirer \u003c/strong>\u003c/em>\u003cstrong>and requesting the kill file \u003c/strong>\u003c/p>\n\u003cp>I talk about for the first time seeing the master list of all of the Trump dirt, if you will, that AMI had in its vaults. Early in 2016 … the \u003cem>National Enquirer\u003c/em> and Dylan Howard created a master list of everything that they had on Trump. And again, you’ll sense a running theme here. The story here is not what was on the list we saw. It’s about 60 entries and this is the first time a reporter has seen the insides of the vault, if you will. It is mostly news that has already been out there. There’s about five affairs—some of those haven’t become public—but consensual affairs-type items. There’s at least one allegation of abuse, but it’s the \u003ca href=\"https://www.npr.org/2016/10/13/497799354/a-list-of-donald-trumps-accusers-of-inappropriate-sexual-conduct\">Jill Harth \u003c/a>allegation, which ultimately did become public. But what is a significant story is that this list was made and we have a multiple-sourced account backed by documentation of \u003cem>National Enquirer\u003c/em> leadership beginning to shred documents related to Trump in the days before the election—and this is strenuously denied by Dylan Howard. We have that denial in the book, but there are ironclad accounts of him ordering a destruction of documents and, a year later—when a senior official at the\u003cem> National Enquirer \u003c/em>went to check whether all of the Trump dirt still existed in the vault—there were documents that were missing consistent with that account of document destruction.\u003c/p>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003cem>\u003cstrong>Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s endorsement of candidate Trump \u003c/strong>\u003c/p>\n\u003cp>Throughout the election, the\u003cem> Enquirer, \u003c/em>as it was seeking to catch and kill stories for Trump, was also sort of descending farther and farther into this rabbit hole of endorsing Trump and really hammering on Hillary Clinton. … For the whole year she was about to die, according to the \u003cem>National Enquirer. \u003c/em>And I think that a lot of us in the press discounted the significance of that. We weren’t conscious of all of this real estate on checkout stands at grocery stores all around the country being devoted to pushing one candidate. And that’s where the criminal investigation and the nonprosecution agreement signed between AMI and prosecutors is significant, because it acknowledges that something quite possibly illegal and quite possibly material to the election and the future of this country played out. The stakes … are very high, both for the individuals involved and for the future of our democracy. We had an election that was very much, I think, affected by this practice of catch and kill.\u003c/p>\n\u003cp>\u003cstrong>On what AMI got in return for killing unflattering stories about Trump \u003c/strong>\u003c/p>\n\u003cp>They have now admitted that there was a quid pro quo and that there were meetings in which a deal was struck to collaborate in this way. … You saw things like [AMI CEO] \u003ca href=\"https://www.npr.org/2018/08/24/641490961/david-pecker-of-national-enquirer-publisher-said-to-have-immunity-in-cohen-case\">David Pecker \u003c/a>getting a lot of access to the White House, suddenly getting a lot of access to potential Saudi donors at a time when the\u003cem> Enquirer\u003c/em> was on its last legs and suffering from declining circulation numbers and a lot of debt. So we’re very careful not to say anything speculative, but certainly there are ways in which David Pecker, the head of the\u003cem> National Enquirer, \u003c/em>the head of AMI and others at the\u003cem> Enquirer\u003c/em> benefited from this. And we talk about Dylan Howard … the editor of the\u003cem> National Enquirer,\u003c/em> who worked under David Pecker, sending friends pictures from inaugural events, really having access and being in the corridors of power. So there was an exchange of access and largesse for killing these stories, it appears.\u003c/p>\n\u003cp>\u003cstrong>On the\u003c/strong>\u003cem>\u003cstrong> Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s attempts to discredit Farrow \u003c/strong>\u003c/p>\n\u003cp>As I began to break these stories about the\u003cem> National Enquirer\u003c/em> I, too, became in Dylan Howard’s words, “\u003cem>National Enquirer\u003c/em> fodder,” and he sent a letter to [\u003cem>New Yorker\u003c/em> Editor] David Remnick, very furiously railing against me and saying, “Ronan is about to become \u003cem>National Enquirer\u003c/em> fodder,” and indeed I did. For a brief shining moment, Terry, I was an all-caps sans serif villain in the pages of the\u003cem> National Enquirer,\u003c/em> and I joke about it, but it is actually painful and intrusive and an ugly business to have an outlet that is essentially a thinly veiled attack dog for powerful people come at you and say, you better come in and talk or we’re going to just unleash whatever we want to make up or dig up about you, and with the\u003cem> Enquirer \u003c/em>it’s usually a lot of both.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ronan+Farrow%3A+%27Catch+And+Kill%27+Tactics+Protected+Both+Weinstein+And+Trump+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "He was followed and his house bugged as he reported on allegations against Harvey Weinstein. Farrow says it's part of a pattern in which powerful entities go to extremes to quash unfavorable stories.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ronan Farrow’s 2017 \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">exposé \u003c/a>of the sexual misconduct allegations against film producer Harvey Weinstein in \u003cem>The New Yorker\u003c/em> earned him a Pulitzer Prize and helped usher in the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a> movement. Now, in his new book, \u003cem>Catch and Kill,\u003c/em> Farrow writes about the extreme tactics Weinstein allegedly used in an attempt to keep him from reporting the story.\u003c/p>\n\u003cp>“Harvey Weinstein’s attorneys … signed a contract with this Israeli private intelligence firm \u003ca href=\"https://www.npr.org/tags/562631560/black-cube\">Black Cube \u003c/a>explicitly tasking secret agents with killing reporting on Harvey Weinstein,” Farrow says. “There was a full-on international espionage operation that was built up around this.”\u003c/p>\n\u003cp>Farrow says that he was followed and that his house was bugged as a result of his work on the story. He eventually moved into a safe house and put his reporting documents into a safe deposit box with a note reading, “Should anything happen to me, please make sure this information is released.”\u003c/p>\n\u003cp>Farrow had started investigating Weinstein as a reporter at NBC News. But, he says, network executives blocked the story from ever being broadcast and eventually let Farrow go. Farrow speculates that the network was doing so, in part, to protect news anchor Matt Lauer, who was subsequently accused of sexual misconduct. Farrow spoke about NBC’s efforts to stifle the Weinstein story in \u003ca href=\"https://www.npr.org/2019/10/11/769326096/ronan-farrow-stands-by-his-reporting-on-nbc-s-corrosive-secrecy-around-sexual-ab\">this NPR interview\u003c/a>. NBC News has maintained that Farrow’s story on the sexual misconduct allegations was not solid—that he had no accusers on record, specifically—when it refused to move forward with the story in 2017 before he took it to \u003cem>The New Yorker\u003c/em>.\u003c/p>\n\u003cp>Farrow notes that NBC’s efforts to quash the story are part of a broader “catch and kill” strategy, whereby powerful entities and individuals go to extreme lengths to keep unfavorable stories from being reported. His book alleges that American Media Inc., the parent company of the tabloid \u003cem>National Enquirer, \u003c/em>engaged in such practices in an effort to control negative stories about then- presidential candidate Donald Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I personally reported a number of stories about cases in which AMI sought or actually did buy the rights to a story in order to get rid of it during the election, and that subsequently has become the subject of a serious criminal investigation,” Farrow says.\u003c/p>\n\u003cp>He adds that the practice of catch and kill is “used both literally in the plot with respect to several stories that AMI goes after and tries to bury for Donald Trump and others, but also figuratively about the media’s role in sometimes not just advancing, but also suppressing, stories.”\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the backlash he has experienced because of the book \u003c/strong>\u003c/p>\n\u003cp>Doing these kinds of investigations of powerful interests means that you get a whole smear machine spun up against you every single time. It happened on the Weinstein story; it happened on the CBS story; it happened on the NBC story; it happened on the AMI story. And all I can say is I’ve been immensely heartened, Terry, by the way in which fellow reporters have rallied around the journalism in this book and defended it and independently corroborated it. And the reaction has been pretty uniform.\u003c/p>\n\u003cp>Just like with the Harvey Weinstein story, I think people have seen through the spin and I think that they have correctly pulled out of this book the important themes which is there are systems still in place at some of the top institutions in this country that aid and abet and protect people accused of serious crimes and silence accusers and shut down reporting. But there are also really brave sources who continue to speak and reporters who continue to bang their heads against the wall trying to make sure the truth comes out. And I leave this process of reporting this book with immense hope and immense optimism, because I don’t see any signs of that stopping.\u003c/p>\n\u003cp>\u003cstrong>On how AMI’s catch-and-kill efforts relate to the Weinstein story\u003c/strong>\u003c/p>\n\u003cp>[AMI] had what’s called a “kill file,” which they have for various celebrities containing all of the dirt that they haven’t published on someone. … There’s various reasons why AMI doesn’t publish things. … In a number of cases they don’t publish things because of an arrangement they broker with a powerful person. … [Chief Content Officer and Vice President] Dylan Howard develops a very close relationship with Harvey Weinstein. We have all of his statements saying, “This was purely a professional relationship,” but we document [that their relationship] extended to secretly recording people who might be used to impeach Harvey Weinstein’s accusers, really going after accusers in collaboration with Harvey Weinstein.\u003c/p>\n\u003cp>\u003cstrong>On AMI’s kill file on Donald Trump \u003c/strong>\u003c/p>\n\u003cp>AMI did indeed purchase the rights to [\u003cem>Playboy \u003c/em>model] Karen McDougal’s story in order to bury it. Another story that I broke … is about a case in which they purchased the rights to a claim by a Trump Tower doorman that he was aware of a relationship Trump had had that had produced a “love child.” …\u003c/p>\n\u003cp>Like many of these catch-and-kill stories, it’s unclear whether the underlying claim has any veracity. The love child story … may or may not be spurious, and also on some level, who cares, right? … The thing that is absolutely worth caring about is the transaction, the fact that there was a potential violation of campaign finance law here and a media outlet acting as an arm of a political candidate. Here again there is an example of collaboration between the candidate and the news outlet, \u003cem>The National Enquirer, \u003c/em>to try to go after a story, and here again, the underlying claim in that lawsuit raises a lot of question marks. … But the fact that AMI went after it has not been disputed by them—they’ve confirmed it—and is yet another interesting data point in this unfolding saga which is still a subject of serious criminal investigation.\u003c/p>\n\u003cp>\u003cstrong>On Trump’s personal lawyer \u003c/strong>\u003ca href=\"https://www.npr.org/2019/02/27/696752450/michael-cohen-to-testify-publicly-before-congress-on-alleged-trump-lawbreaking\">\u003cstrong>Michael Cohen\u003c/strong>\u003c/a>\u003cstrong> going to the \u003c/strong>\u003cem>\u003cstrong>Enquirer \u003c/strong>\u003c/em>\u003cstrong>and requesting the kill file \u003c/strong>\u003c/p>\n\u003cp>I talk about for the first time seeing the master list of all of the Trump dirt, if you will, that AMI had in its vaults. Early in 2016 … the \u003cem>National Enquirer\u003c/em> and Dylan Howard created a master list of everything that they had on Trump. And again, you’ll sense a running theme here. The story here is not what was on the list we saw. It’s about 60 entries and this is the first time a reporter has seen the insides of the vault, if you will. It is mostly news that has already been out there. There’s about five affairs—some of those haven’t become public—but consensual affairs-type items. There’s at least one allegation of abuse, but it’s the \u003ca href=\"https://www.npr.org/2016/10/13/497799354/a-list-of-donald-trumps-accusers-of-inappropriate-sexual-conduct\">Jill Harth \u003c/a>allegation, which ultimately did become public. But what is a significant story is that this list was made and we have a multiple-sourced account backed by documentation of \u003cem>National Enquirer\u003c/em> leadership beginning to shred documents related to Trump in the days before the election—and this is strenuously denied by Dylan Howard. We have that denial in the book, but there are ironclad accounts of him ordering a destruction of documents and, a year later—when a senior official at the\u003cem> National Enquirer \u003c/em>went to check whether all of the Trump dirt still existed in the vault—there were documents that were missing consistent with that account of document destruction.\u003c/p>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003cem>\u003cstrong>Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s endorsement of candidate Trump \u003c/strong>\u003c/p>\n\u003cp>Throughout the election, the\u003cem> Enquirer, \u003c/em>as it was seeking to catch and kill stories for Trump, was also sort of descending farther and farther into this rabbit hole of endorsing Trump and really hammering on Hillary Clinton. … For the whole year she was about to die, according to the \u003cem>National Enquirer. \u003c/em>And I think that a lot of us in the press discounted the significance of that. We weren’t conscious of all of this real estate on checkout stands at grocery stores all around the country being devoted to pushing one candidate. And that’s where the criminal investigation and the nonprosecution agreement signed between AMI and prosecutors is significant, because it acknowledges that something quite possibly illegal and quite possibly material to the election and the future of this country played out. The stakes … are very high, both for the individuals involved and for the future of our democracy. We had an election that was very much, I think, affected by this practice of catch and kill.\u003c/p>\n\u003cp>\u003cstrong>On what AMI got in return for killing unflattering stories about Trump \u003c/strong>\u003c/p>\n\u003cp>They have now admitted that there was a quid pro quo and that there were meetings in which a deal was struck to collaborate in this way. … You saw things like [AMI CEO] \u003ca href=\"https://www.npr.org/2018/08/24/641490961/david-pecker-of-national-enquirer-publisher-said-to-have-immunity-in-cohen-case\">David Pecker \u003c/a>getting a lot of access to the White House, suddenly getting a lot of access to potential Saudi donors at a time when the\u003cem> Enquirer\u003c/em> was on its last legs and suffering from declining circulation numbers and a lot of debt. So we’re very careful not to say anything speculative, but certainly there are ways in which David Pecker, the head of the\u003cem> National Enquirer, \u003c/em>the head of AMI and others at the\u003cem> Enquirer\u003c/em> benefited from this. And we talk about Dylan Howard … the editor of the\u003cem> National Enquirer,\u003c/em> who worked under David Pecker, sending friends pictures from inaugural events, really having access and being in the corridors of power. So there was an exchange of access and largesse for killing these stories, it appears.\u003c/p>\n\u003cp>\u003cstrong>On the\u003c/strong>\u003cem>\u003cstrong> Enquirer\u003c/strong>\u003c/em>\u003cstrong>‘s attempts to discredit Farrow \u003c/strong>\u003c/p>\n\u003cp>As I began to break these stories about the\u003cem> National Enquirer\u003c/em> I, too, became in Dylan Howard’s words, “\u003cem>National Enquirer\u003c/em> fodder,” and he sent a letter to [\u003cem>New Yorker\u003c/em> Editor] David Remnick, very furiously railing against me and saying, “Ronan is about to become \u003cem>National Enquirer\u003c/em> fodder,” and indeed I did. For a brief shining moment, Terry, I was an all-caps sans serif villain in the pages of the\u003cem> National Enquirer,\u003c/em> and I joke about it, but it is actually painful and intrusive and an ugly business to have an outlet that is essentially a thinly veiled attack dog for powerful people come at you and say, you better come in and talk or we’re going to just unleash whatever we want to make up or dig up about you, and with the\u003cem> Enquirer \u003c/em>it’s usually a lot of both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ronan+Farrow%3A+%27Catch+And+Kill%27+Tactics+Protected+Both+Weinstein+And+Trump+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Depending on your perspective, “Blurred Lines” was either the catchiest bop of Summer 2013, or a rage-inducing example of casual sexism and rape culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yyDUC1LUXSU\u003c/p>\n\u003cp>The lyrics of “Blurred Lines,” by Robin Thicke featuring Pharrell and T.I., were for many sexual assault survivors nothing less than triggering—thanks in particular to a refrain that included the words “\u003cem>I know you want it.\u003c/em>” The first sound Pharrell even made on the track was a cat-called “\u003cem>Hey girl, come here!\u003c/em>” done in a style familiar to every female human that has ever dealt with street harassment.\u003c/p>\n\u003cp>The accompanying video did not help matters. There were two versions released—one in which partially clothed models are objectified; another in which the same objectified women wear only flesh-colored panties. Both versions feature a scene in which Thicke’s penis size was described by, of all things, silver balloons.\u003c/p>\n\u003cp>Though an enormous hit at the time (“Blurred Lines” reached the top of the charts in countries around the globe, and is certified Diamond in the United States. having sold the equivalent of over 10 million copies), it has become somewhat of an albatross for everyone involved. Not just because of accusations of its misogyny, but also because in 2015, a jury found both Thicke and Pharrell guilty of copyright infringement due to the song’s resemblance to Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=Ayyy-03ITDg\" target=\"_blank\" rel=\"noopener noreferrer\">Got to Give it Up\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on your perspective, “Blurred Lines” was either the catchiest bop of Summer 2013, or a rage-inducing example of casual sexism and rape culture.\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/yyDUC1LUXSU'\n title='//www.youtube.com/embed/yyDUC1LUXSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lyrics of “Blurred Lines,” by Robin Thicke featuring Pharrell and T.I., were for many sexual assault survivors nothing less than triggering—thanks in particular to a refrain that included the words “\u003cem>I know you want it.\u003c/em>” The first sound Pharrell even made on the track was a cat-called “\u003cem>Hey girl, come here!\u003c/em>” done in a style familiar to every female human that has ever dealt with street harassment.\u003c/p>\n\u003cp>The accompanying video did not help matters. There were two versions released—one in which partially clothed models are objectified; another in which the same objectified women wear only flesh-colored panties. Both versions feature a scene in which Thicke’s penis size was described by, of all things, silver balloons.\u003c/p>\n\u003cp>Though an enormous hit at the time (“Blurred Lines” reached the top of the charts in countries around the globe, and is certified Diamond in the United States. having sold the equivalent of over 10 million copies), it has become somewhat of an albatross for everyone involved. Not just because of accusations of its misogyny, but also because in 2015, a jury found both Thicke and Pharrell guilty of copyright infringement due to the song’s resemblance to Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=Ayyy-03ITDg\" target=\"_blank\" rel=\"noopener noreferrer\">Got to Give it Up\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Among all the other things that transpired \u003ca href=\"https://www.mprnews.org/story/2019/10/10/trump-aims-to-turn-impeachment-probe-into-campaign-asset-at-minneapolis-rally\">at\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/09/768697916/trump-faces-protests-in-minneapolis-during-his-campaign-rally\">around\u003c/a> President Trump’s reelection campaign in Minneapolis Thursday night, his team played the music of a hometown hero: Prince’s “Purple Rain.” Soon after, the estate of Minnesota’s late musical hero made it clear just how unhappy it was — and \u003ca href=\"https://twitter.com/prince/status/1182484599781416960?s=20\">shared\u003c/a> a letter from Trump’s legal team from a year ago, in which the campaign explicitly promised not to use Prince’s music.\u003c/p>\n\u003cp>Politicians soundtracking – or co-opting, depending on your point of view — famous songs is a familiar conundrum for artists. Candidates want well-known, usually mood-boosting hits to get the crowd going. (One notable exception: the rather doleful “You Can’t Always Get What You Want” by the Rolling Stones, which was a favorite for then-candidate Donald J. Trump in 2016.)\u003c/p>\n\u003cp>https://twitter.com/prince/status/1182484599781416960\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>As long as they pay for the rights to the songs, candidates in the U.S. are \u003ca href=\"https://www.npr.org/sections/therecord/2016/07/22/487022287/cleveland-rocked-music-at-the-republican-national-convention\">generally\u003c/a> legally free to use any music they like, no matter how at odds the artists’ own politics may be from those on the campaign trail. (During his remarks at Minneapolis’ Target Center Thursday night, Trump \u003ca href=\"https://www.youtube.com/watch?time_continue=15&v=Kh3ZB_oX9cY\">said\u003c/a>: “I didn’t need Beyoncé and Jay-Z, and I didn’t need little Bruce Springsteen” to secure his 2016 electoral victory.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Melinda Newman \u003ca href=\"https://www.forbes.com/sites/melindanewman/2016/07/19/why-queen-cannot-stop-trumps-use-of-we-are-the-champions/#5d02a6386d4b\">observed\u003c/a> in \u003cem>Forbes\u003c/em> in July 2016, “The sad truth is for many artists, they cannot keep their songs from being used in this context even if they vehemently disagree with the politician who is using the song.” The only restrictions relate to political commercials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the Prince estate might stand in a different position, due to a letter from the Trump campaign it posted to Twitter on Thursday night, and as of publication has been retweeted 28,000 times. Dated October 15, 2018, and written by the law firm Jones Day on behalf of the president’s reelection campaign, the Trump team specifically says that “going forward,” the campaign will not use any of Prince’s music at Trump rallies and other campaign events, after the estate requested it. (However, it does not stipulate how long such an agreement might last.) Given that, it looks like this situation will be one for the lawyers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Among all the other things that transpired \u003ca href=\"https://www.mprnews.org/story/2019/10/10/trump-aims-to-turn-impeachment-probe-into-campaign-asset-at-minneapolis-rally\">at\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/09/768697916/trump-faces-protests-in-minneapolis-during-his-campaign-rally\">around\u003c/a> President Trump’s reelection campaign in Minneapolis Thursday night, his team played the music of a hometown hero: Prince’s “Purple Rain.” Soon after, the estate of Minnesota’s late musical hero made it clear just how unhappy it was — and \u003ca href=\"https://twitter.com/prince/status/1182484599781416960?s=20\">shared\u003c/a> a letter from Trump’s legal team from a year ago, in which the campaign explicitly promised not to use Prince’s music.\u003c/p>\n\u003cp>Politicians soundtracking – or co-opting, depending on your point of view — famous songs is a familiar conundrum for artists. Candidates want well-known, usually mood-boosting hits to get the crowd going. (One notable exception: the rather doleful “You Can’t Always Get What You Want” by the Rolling Stones, which was a favorite for then-candidate Donald J. Trump in 2016.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Melinda Newman \u003ca href=\"https://www.forbes.com/sites/melindanewman/2016/07/19/why-queen-cannot-stop-trumps-use-of-we-are-the-champions/#5d02a6386d4b\">observed\u003c/a> in \u003cem>Forbes\u003c/em> in July 2016, “The sad truth is for many artists, they cannot keep their songs from being used in this context even if they vehemently disagree with the politician who is using the song.” The only restrictions relate to political commercials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the Prince estate might stand in a different position, due to a letter from the Trump campaign it posted to Twitter on Thursday night, and as of publication has been retweeted 28,000 times. Dated October 15, 2018, and written by the law firm Jones Day on behalf of the president’s reelection campaign, the Trump team specifically says that “going forward,” the campaign will not use any of Prince’s music at Trump rallies and other campaign events, after the estate requested it. (However, it does not stipulate how long such an agreement might last.) Given that, it looks like this situation will be one for the lawyers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T2e7e2Hpb7I\u003c/p>\n\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=6&v=inoeW5BZJvg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xRogpFFytU8\u003c/p>\n\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKCdV20zLMs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\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/T2e7e2Hpb7I'\n title='//www.youtube.com/embed/T2e7e2Hpb7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\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/inoeW5BZJvg'\n title='//www.youtube.com/embed/inoeW5BZJvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\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/xRogpFFytU8'\n title='//www.youtube.com/embed/xRogpFFytU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\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/dKCdV20zLMs'\n title='//www.youtube.com/embed/dKCdV20zLMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "O Come, All Ye Faithful, to the Church of Nick Offerman",
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"content": "\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Not Just 'Joker': America's Been Ignoring Gary Glitter's Pedophilia For Years",
"headTitle": "Not Just ‘Joker’: America’s Been Ignoring Gary Glitter’s Pedophilia For Years | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: According to the \u003c/em>\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Times\u003c/a>\u003cem>, an unnamed spokesman at Gary Glitter’s label in London asserts that “\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Glitter does not get paid\u003c/a>” for the use of “Rock and Roll Part 2,” reporting that Glitter sold his publishing rights to the song over 20 years ago. This article’s text has been amended to reflect that.\u003c/em>\u003c/p>\n\u003cp>There’s a scene in Todd Phillips’ controversial new \u003cem>Joker\u003c/em> movie in which Joaquin Phoenix’s tortured lead is finally fully transformed from outcast Arthur Fleck into the dangerously bombastic Joker. As he embraces his new role, he is seen dancing down some stairs to the sounds of 1972’s “\u003ca href=\"https://www.youtube.com/watch?v=8OJ01psE6wc\" target=\"_blank\" rel=\"noopener noreferrer\">Rock & Roll Part 2\u003c/a>” by Gary Glitter—and it’s created a furor. (Well, on top of the one that already existed, about centering a movie on a murderous protagonist who gets that way via social rejection.)\u003c/p>\n\u003cp>It’s not for nothing. Glitter, a British glam rocker who found fame with outrageous clothes and catchy songs in the ’70s and early ’80s, is a pariah in his home country, thanks to his status as a \u003ca href=\"https://www.bbc.com/news/uk-31657929\" target=\"_blank\" rel=\"noopener noreferrer\">convicted pedophile and unapologetic\u003c/a> sexual abuser. Glitter’s rap sheet is long and horrifying. In 1999, he was placed on Britain’s sex offender register and sentenced to four months in prison after 4,000 images of child pornography (some featuring children \u003ca href=\"https://www.bbc.com/news/uk-31015347\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 6\u003c/a>) were discovered on his laptop.\u003c/p>\n\u003cp>After his release, he fled to Cambodia where he was eventually \u003ca href=\"https://www.theguardian.com/uk/2003/jan/08/childprotection.children\" target=\"_blank\" rel=\"noopener noreferrer\">deported for sex tourism\u003c/a>. In 2005 and 2006, he came to the attention of Vietnamese police after preying on \u003ca href=\"https://www.theguardian.com/world/2006/mar/03/ukcrime.uk\" target=\"_blank\" rel=\"noopener noreferrer\">multiple young girls\u003c/a>, including children as young as 10 and 11-years old, and a 15-year-old who was said to be living with him. He served three years in Thủ Đức Prison, was barred from \u003ca href=\"https://www.telegraph.co.uk/news/newstopics/garyglitter/3103578/Glitter-banned-from-France-and-Spain.html\" target=\"_blank\" rel=\"noopener noreferrer\">at least 19 countries\u003c/a>, including the Philippines, Cuba, Cambodia and Thailand, and was subsequently \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/2573385/Gary-Glitter-to-be-deported-to-Britain-on-Tuesday.html\" target=\"_blank\" rel=\"noopener noreferrer\">deported to the U.K.\u003c/a> in 2008.\u003c/p>\n\u003cp>During 2014 and 2015, as part of a \u003ca href=\"https://en.wikipedia.org/wiki/Operation_Yewtree\" target=\"_blank\" rel=\"noopener noreferrer\">sweeping investigation\u003c/a> that brought down a wealth of prominent TV, radio and music personalities in the U.K., Glitter was charged with a multitude of sexual offenses relating to multiple children \u003ca href=\"https://www.theguardian.com/uk-news/2015/feb/05/gary-glitter-guilty-child-sex-offences\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 14\u003c/a> (one of whom was 8). He is currently serving 16 years in prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of all the songs in all the world that Joker could have used for this scene, there is surely no justification in choosing one by this particular monster. There are plenty of stompy old rock ‘n’ roll hits, similar in genre to “Rock and Roll Part 2,” that aren’t going to raise the profile of a pedophile.\u003c/p>\n\u003cp>In truth though, the movie is just one in a long line of American products that have actively ignored the crimes of Gary Glitter. In 2006, \u003ca href=\"https://www.youtube.com/watch?v=UhF8JKHAZuA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Office\u003c/em> featured\u003c/a> “Rock & Roll Part 2” in an episode. In 2004, \u003cem>Meet the Fockers\u003c/em> used it during a \u003ca href=\"https://www.youtube.com/watch?v=flqu8TAROss\" target=\"_blank\" rel=\"noopener noreferrer\">football-related scene\u003c/a>. In 2012, \u003cem>Silver Linings Playbook\u003c/em> included it in a \u003ca href=\"https://www.youtube.com/watch?time_continue=31&v=kAvh8NeUlHo\" target=\"_blank\" rel=\"noopener noreferrer\">movie trailer\u003c/a> that was in heavy rotation on television. The choice to put the track in those last two was probably related to sports sub-plots—before \u003cem>Joker\u003c/em>, “Rock & Roll Part 2” was best known for being in heavy rotation at sporting events around the country.\u003c/p>\n\u003cp>Most commonly referred to as “The Hey Song” by sports fans, the track started \u003ca href=\"https://www.youtube.com/watch?v=2gdi7B7NKr4\" target=\"_blank\" rel=\"noopener noreferrer\">its sporting life\u003c/a> in hockey, when in 1974, Michigan’s Kalamazoo Wings began using it as a soundtrack to their arrival on the ice. When the team’s marketing director Kevin O’Brien moved to the NHL, he took the song with him to the Colorado Rockies, and it promptly became a staple across Denver sports. The Chicago Bulls adopted the track in the ’90s and it quickly spread to stadiums around the country.\u003c/p>\n\u003cp>While the NFL banned the use of the track at \u003ca href=\"https://www.nj.com/parenting/2012/02/gary_glitter_song_banned_from.html\" target=\"_blank\" rel=\"noopener noreferrer\">2012’s Super Bowl\u003c/a> as a direct result of Glitter-related controversies, the NHL and minor leagues continue to use it, and the NBA and MLB have yet to enforce official bans. In fact, the track is now so ingrained in American life, even the Democratic National Convention \u003ca href=\"https://www.spin.com/2012/09/democrats-inexplicably-play-child-molester-gary-glitter-at-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">played it in 2012\u003c/a>.\u003c/p>\n\u003cp>America’s ability to ignore Glitter’s crimes becomes even more shocking when one considers the behavior of usually outspoken feminist Joan Jett. Jett continues to perform her 1981 single “Do You Wanna Touch Me (Oh Yeah)” despite the fact that it was originally written and released by Glitter in 1973.\u003c/p>\n\u003cp>Here she is performing it earlier this year in Australia:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nbjbrsirs4M\u003c/p>\n\u003cp>Jett has kept that song alive and, according to a \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/3277806/Gary-Glitter-to-get-100000-royalties-for-song-used-in-Hewlett-Packard-advert.html\" target=\"_blank\" rel=\"noopener noreferrer\">2008 report in \u003cem>The Telegraph\u003c/em>\u003c/a>, Glitter has profited. After Hewlett Packard used Jett’s version in \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=UR830Os72k0\" target=\"_blank\" rel=\"noopener noreferrer\">a commercial\u003c/a> that year, Glitter reportedly earned up to $122,000 (£100,000). The computer company only \u003ca href=\"https://www.upi.com/Entertainment_News/2008/11/11/HP-yanks-commercial-with-Gary-Glitter-song/25011226432244/\" target=\"_blank\" rel=\"noopener noreferrer\">pulled the commercial\u003c/a> after receiving multiple complaints, including one from the editor of \u003ca href=\"https://www.abusewatch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">AbuseWatch.net\u003c/a>, Evin Daly. That didn’t stop Gwyneth Paltrow and the cast of \u003cem>Glee\u003c/em> from doing \u003ca href=\"https://www.youtube.com/watch?v=a3aMRxHS0sY\" target=\"_blank\" rel=\"noopener noreferrer\">a cover of the song\u003c/a> on the show in 2011.\u003c/p>\n\u003cp>The discussion around how and when we can separate art from disgraced artists is complex and ongoing—especially in the age of #MeToo. For every discussion that arises about another abusive musician, there are ten people waiting in the wings to remind you that \u003ca href=\"https://www.thrillist.com/entertainment/nation/i-lost-my-virginity-to-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a>, \u003ca href=\"https://www.thedailybeast.com/led-zeppelins-controversial-legacy-thievery-underage-groupies-and-the-mud-shark-incident\" target=\"_blank\" rel=\"noopener noreferrer\">Led Zeppelin\u003c/a>, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/rolling-stones-bill-wyman-contacted-1795749\" target=\"_blank\" rel=\"noopener noreferrer\">The Rolling Stones\u003c/a>, Aerosmith’s \u003ca href=\"http://www.feelnumb.com/2011/01/22/steven-tyler-once-had-14-year-old-girlfriend-that-her-parents-signed-over-to-him/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Tyler\u003c/a> and Red Hot Chili Peppers’ \u003ca href=\"https://www.disasterserum.com/your-favorite-rockstar-is-probably-a-creep\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Kiedis\u003c/a> all had sex with underage girls. And for those ten people, there are another 20 who want to tell you that all of those statutory rapes happened during a “different time,” and with fans that have, at least \u003ca href=\"https://jezebel.com/what-should-we-say-about-david-bowie-and-lori-maddox-1754533894\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes\u003c/a>, expressed no regrets about what happened.\u003c/p>\n\u003cp>The question remains: why risk potentially rewarding someone this grotesque? If there is one place we should all be able to agree, it’s on the fact that Gary Glitter is the worst kind of long-term predatory pedophile, one who has traveled around the world specifically in pursuit of his illegal sexual predilection, completely undeterred by either prison time or public shaming.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While complaining about Glitter no doubt plays into \u003cem>Joker\u003c/em>‘s twisted marketing strategy, if anything positive is to come from this particular soundtrack choice, we should see it as a chance to recognize just how badly America needs to erase this kind of artist from the public consciousness. Cancel culture is supposed to be in full swing, but if we as a nation can’t even say no to the musical output of a criminal as heinous as Gary Glitter, how will we ever begin to address the ethics of more complex situations?\u003c/p>\n\n",
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"excerpt": "The ongoing use of Gary Glitter's music on soundtracks and commercials in American is proof that so-called \"Cancel Culture\" doesn't actually exist. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: According to the \u003c/em>\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Times\u003c/a>\u003cem>, an unnamed spokesman at Gary Glitter’s label in London asserts that “\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Glitter does not get paid\u003c/a>” for the use of “Rock and Roll Part 2,” reporting that Glitter sold his publishing rights to the song over 20 years ago. This article’s text has been amended to reflect that.\u003c/em>\u003c/p>\n\u003cp>There’s a scene in Todd Phillips’ controversial new \u003cem>Joker\u003c/em> movie in which Joaquin Phoenix’s tortured lead is finally fully transformed from outcast Arthur Fleck into the dangerously bombastic Joker. As he embraces his new role, he is seen dancing down some stairs to the sounds of 1972’s “\u003ca href=\"https://www.youtube.com/watch?v=8OJ01psE6wc\" target=\"_blank\" rel=\"noopener noreferrer\">Rock & Roll Part 2\u003c/a>” by Gary Glitter—and it’s created a furor. (Well, on top of the one that already existed, about centering a movie on a murderous protagonist who gets that way via social rejection.)\u003c/p>\n\u003cp>It’s not for nothing. Glitter, a British glam rocker who found fame with outrageous clothes and catchy songs in the ’70s and early ’80s, is a pariah in his home country, thanks to his status as a \u003ca href=\"https://www.bbc.com/news/uk-31657929\" target=\"_blank\" rel=\"noopener noreferrer\">convicted pedophile and unapologetic\u003c/a> sexual abuser. Glitter’s rap sheet is long and horrifying. In 1999, he was placed on Britain’s sex offender register and sentenced to four months in prison after 4,000 images of child pornography (some featuring children \u003ca href=\"https://www.bbc.com/news/uk-31015347\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 6\u003c/a>) were discovered on his laptop.\u003c/p>\n\u003cp>After his release, he fled to Cambodia where he was eventually \u003ca href=\"https://www.theguardian.com/uk/2003/jan/08/childprotection.children\" target=\"_blank\" rel=\"noopener noreferrer\">deported for sex tourism\u003c/a>. In 2005 and 2006, he came to the attention of Vietnamese police after preying on \u003ca href=\"https://www.theguardian.com/world/2006/mar/03/ukcrime.uk\" target=\"_blank\" rel=\"noopener noreferrer\">multiple young girls\u003c/a>, including children as young as 10 and 11-years old, and a 15-year-old who was said to be living with him. He served three years in Thủ Đức Prison, was barred from \u003ca href=\"https://www.telegraph.co.uk/news/newstopics/garyglitter/3103578/Glitter-banned-from-France-and-Spain.html\" target=\"_blank\" rel=\"noopener noreferrer\">at least 19 countries\u003c/a>, including the Philippines, Cuba, Cambodia and Thailand, and was subsequently \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/2573385/Gary-Glitter-to-be-deported-to-Britain-on-Tuesday.html\" target=\"_blank\" rel=\"noopener noreferrer\">deported to the U.K.\u003c/a> in 2008.\u003c/p>\n\u003cp>During 2014 and 2015, as part of a \u003ca href=\"https://en.wikipedia.org/wiki/Operation_Yewtree\" target=\"_blank\" rel=\"noopener noreferrer\">sweeping investigation\u003c/a> that brought down a wealth of prominent TV, radio and music personalities in the U.K., Glitter was charged with a multitude of sexual offenses relating to multiple children \u003ca href=\"https://www.theguardian.com/uk-news/2015/feb/05/gary-glitter-guilty-child-sex-offences\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 14\u003c/a> (one of whom was 8). He is currently serving 16 years in prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of all the songs in all the world that Joker could have used for this scene, there is surely no justification in choosing one by this particular monster. There are plenty of stompy old rock ‘n’ roll hits, similar in genre to “Rock and Roll Part 2,” that aren’t going to raise the profile of a pedophile.\u003c/p>\n\u003cp>In truth though, the movie is just one in a long line of American products that have actively ignored the crimes of Gary Glitter. In 2006, \u003ca href=\"https://www.youtube.com/watch?v=UhF8JKHAZuA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Office\u003c/em> featured\u003c/a> “Rock & Roll Part 2” in an episode. In 2004, \u003cem>Meet the Fockers\u003c/em> used it during a \u003ca href=\"https://www.youtube.com/watch?v=flqu8TAROss\" target=\"_blank\" rel=\"noopener noreferrer\">football-related scene\u003c/a>. In 2012, \u003cem>Silver Linings Playbook\u003c/em> included it in a \u003ca href=\"https://www.youtube.com/watch?time_continue=31&v=kAvh8NeUlHo\" target=\"_blank\" rel=\"noopener noreferrer\">movie trailer\u003c/a> that was in heavy rotation on television. The choice to put the track in those last two was probably related to sports sub-plots—before \u003cem>Joker\u003c/em>, “Rock & Roll Part 2” was best known for being in heavy rotation at sporting events around the country.\u003c/p>\n\u003cp>Most commonly referred to as “The Hey Song” by sports fans, the track started \u003ca href=\"https://www.youtube.com/watch?v=2gdi7B7NKr4\" target=\"_blank\" rel=\"noopener noreferrer\">its sporting life\u003c/a> in hockey, when in 1974, Michigan’s Kalamazoo Wings began using it as a soundtrack to their arrival on the ice. When the team’s marketing director Kevin O’Brien moved to the NHL, he took the song with him to the Colorado Rockies, and it promptly became a staple across Denver sports. The Chicago Bulls adopted the track in the ’90s and it quickly spread to stadiums around the country.\u003c/p>\n\u003cp>While the NFL banned the use of the track at \u003ca href=\"https://www.nj.com/parenting/2012/02/gary_glitter_song_banned_from.html\" target=\"_blank\" rel=\"noopener noreferrer\">2012’s Super Bowl\u003c/a> as a direct result of Glitter-related controversies, the NHL and minor leagues continue to use it, and the NBA and MLB have yet to enforce official bans. In fact, the track is now so ingrained in American life, even the Democratic National Convention \u003ca href=\"https://www.spin.com/2012/09/democrats-inexplicably-play-child-molester-gary-glitter-at-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">played it in 2012\u003c/a>.\u003c/p>\n\u003cp>America’s ability to ignore Glitter’s crimes becomes even more shocking when one considers the behavior of usually outspoken feminist Joan Jett. Jett continues to perform her 1981 single “Do You Wanna Touch Me (Oh Yeah)” despite the fact that it was originally written and released by Glitter in 1973.\u003c/p>\n\u003cp>Here she is performing it earlier this year in Australia:\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/nbjbrsirs4M'\n title='//www.youtube.com/embed/nbjbrsirs4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jett has kept that song alive and, according to a \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/3277806/Gary-Glitter-to-get-100000-royalties-for-song-used-in-Hewlett-Packard-advert.html\" target=\"_blank\" rel=\"noopener noreferrer\">2008 report in \u003cem>The Telegraph\u003c/em>\u003c/a>, Glitter has profited. After Hewlett Packard used Jett’s version in \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=UR830Os72k0\" target=\"_blank\" rel=\"noopener noreferrer\">a commercial\u003c/a> that year, Glitter reportedly earned up to $122,000 (£100,000). The computer company only \u003ca href=\"https://www.upi.com/Entertainment_News/2008/11/11/HP-yanks-commercial-with-Gary-Glitter-song/25011226432244/\" target=\"_blank\" rel=\"noopener noreferrer\">pulled the commercial\u003c/a> after receiving multiple complaints, including one from the editor of \u003ca href=\"https://www.abusewatch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">AbuseWatch.net\u003c/a>, Evin Daly. That didn’t stop Gwyneth Paltrow and the cast of \u003cem>Glee\u003c/em> from doing \u003ca href=\"https://www.youtube.com/watch?v=a3aMRxHS0sY\" target=\"_blank\" rel=\"noopener noreferrer\">a cover of the song\u003c/a> on the show in 2011.\u003c/p>\n\u003cp>The discussion around how and when we can separate art from disgraced artists is complex and ongoing—especially in the age of #MeToo. For every discussion that arises about another abusive musician, there are ten people waiting in the wings to remind you that \u003ca href=\"https://www.thrillist.com/entertainment/nation/i-lost-my-virginity-to-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a>, \u003ca href=\"https://www.thedailybeast.com/led-zeppelins-controversial-legacy-thievery-underage-groupies-and-the-mud-shark-incident\" target=\"_blank\" rel=\"noopener noreferrer\">Led Zeppelin\u003c/a>, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/rolling-stones-bill-wyman-contacted-1795749\" target=\"_blank\" rel=\"noopener noreferrer\">The Rolling Stones\u003c/a>, Aerosmith’s \u003ca href=\"http://www.feelnumb.com/2011/01/22/steven-tyler-once-had-14-year-old-girlfriend-that-her-parents-signed-over-to-him/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Tyler\u003c/a> and Red Hot Chili Peppers’ \u003ca href=\"https://www.disasterserum.com/your-favorite-rockstar-is-probably-a-creep\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Kiedis\u003c/a> all had sex with underage girls. And for those ten people, there are another 20 who want to tell you that all of those statutory rapes happened during a “different time,” and with fans that have, at least \u003ca href=\"https://jezebel.com/what-should-we-say-about-david-bowie-and-lori-maddox-1754533894\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes\u003c/a>, expressed no regrets about what happened.\u003c/p>\n\u003cp>The question remains: why risk potentially rewarding someone this grotesque? If there is one place we should all be able to agree, it’s on the fact that Gary Glitter is the worst kind of long-term predatory pedophile, one who has traveled around the world specifically in pursuit of his illegal sexual predilection, completely undeterred by either prison time or public shaming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While complaining about Glitter no doubt plays into \u003cem>Joker\u003c/em>‘s twisted marketing strategy, if anything positive is to come from this particular soundtrack choice, we should see it as a chance to recognize just how badly America needs to erase this kind of artist from the public consciousness. Cancel culture is supposed to be in full swing, but if we as a nation can’t even say no to the musical output of a criminal as heinous as Gary Glitter, how will we ever begin to address the ethics of more complex situations?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Lasting Legacy of Bob Ross and His Colorful World of 'Happy Accidents'",
"headTitle": "The Lasting Legacy of Bob Ross and His Colorful World of ‘Happy Accidents’ | KQED",
"content": "\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1koOWsj70d4\u003c/p>\n\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Maureen Pao edited the Web story. Matt Ozug edited the audio story.\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=The+Lasting+Legacy+Of+Bob+Ross+And+His+Colorful+World+Of+%27Happy+Accidents%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The bushy-haired former Air Force sergeant with the soothing voice rose to fame in the 1980s and '90s with his PBS show 'The Joy of Painting'. Bob Ross died in 1995, but his popularity endures.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\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/1koOWsj70d4'\n title='//www.youtube.com/embed/1koOWsj70d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Maureen Pao edited the Web story. Matt Ozug edited the audio story.\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=The+Lasting+Legacy+Of+Bob+Ross+And+His+Colorful+World+Of+%27Happy+Accidents%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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