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"content": "\u003cp>Each year, October brings pumpkins, witches and candy. But for artists, it also brings the annual tradition of \u003ca href=\"https://inktober.com/\">Inktober\u003c/a>. Illustrator and writer \u003ca href=\"https://www.mrjakeparker.com/\">Jake Parker\u003c/a> created the drawing challenge 10 years ago as a way to strengthen his ink-drawing skills.\u003c/p>\n\u003cp>In 2009, he announced on his blog that he was going to create and post an ink drawing every day in October, and he invited other artists to join him. Now, millions of drawings are posted to \u003ca href=\"https://www.instagram.com/explore/tags/inktober/\">#inktober\u003c/a> on Instagram.\u003c/p>\n\u003cp>“It’s a lot to absorb and follow,” Parker says.\u003c/p>\n\u003cp>A few years ago, \u003ca href=\"https://inktober.com/rules\">Parker introduced daily prompts\u003c/a>: a daily word that could serve as inspiration for a drawing during Inktober. Some artists work on a consistent theme or project throughout the month; others prefer a less rigid approach.\u003c/p>\n\u003cp>“Every year, it’s a chance to spend that time focused on a project that can be finished in a month or get a good chunk of it done in a month,” Parker says. Some Inktober projects have turned into published books.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The goal is to post a new drawing each day, but it can be demanding to meet that pace.\u003c/p>\n\u003cp>“I’m all about building habits and even if I can find only 15 minutes to draw, I’ll use this time the best I can,” \u003ca href=\"https://dariagolab.com/\">artist and illustrator Daria Golab\u003c/a> writes in an email. “At the same time if I miss a few days, I don’t worry about it and will try to catch up but without putting too much pressure on it.”\u003c/p>\n\u003cp>Any artist can join the challenge, using any creative process the person wishes. Here is a selection of artists creating work for Inktober and their experiences, shared via email:\u003c/p>\n\u003cp>https://www.instagram.com/p/B3FOJvGD8R5/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I usually draw something simple every day,” \u003ca href=\"https://www.nicole-xu.com/\">illustrator Nicole Xu\u003c/a> writes. ” It’s not a strict rule though. This Inktober, I was swamped with freelance work, so I had to take a break from inking so it didn’t feel like a chore.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3kHYUQJtky/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I think of everyday items or topics that interest me and begin brainstorming how I can turn those subjects into art in the most eccentric way possible, while still keeping animals and nature as the main focus,” \u003ca href=\"http://www.dominiqueramsey.com/\">illustrator Dominique Ramsey\u003c/a> writes.\u003c/p>\n\u003cp>https://www.instagram.com/p/B3M4330FiTQ/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I like to create pieces as often as I can,” \u003ca href=\"https://www.instagram.com/dustybrockway/\">artist Michael Lindberg\u003c/a> writes. “Sometimes that means several drawings a week or just one. I enjoy the process of generating ideas and getting them out of my head.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B34Kk9jHOMg/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“When it comes to Inktober or any other challenge, I try to post every single piece,” Golab writes. “Even if I don’t really like it, I try not to subscribe to the idea of only showing good results. Good artists make bad works too!”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3l6UosA6rX/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have been creating pieces almost everyday this month,” \u003ca href=\"https://www.instagram.com/the.arti.tect/\">artist and architect Anu Sam\u003c/a> writes. “However it takes me much longer to perfect an artwork otherwise, seeking for just the right mood. Since my method of execution involves stippling I tend to work for hours on a single inked drawing for the day.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inktober+Challenge+Pushes+Artists+To+Flex+Their+Creative+Muscles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>It’s that time of year: Leaves are falling, temperatures are dropping, families are heading out to the pumpkin patch and that \u003cem>one \u003c/em>neighbor is preparing to hand out raisins to kids who’d much, much rather have candy. All is well—at least until our social media feeds are flooded with the annual onslaught of racial Halloween faux pas.\u003c/p>\n\u003cp>Often these incidents trigger debate about what should and shouldn’t be allowed when it comes to festivities. It’s a tired conversation that often ends in diatribes about the tyranny of political correctness and how no one knows how to have \u003cem>fun \u003c/em>anymore. We don’t want to have that conversation; we’d rather just eat our treats in peace. That’s why we’re bringing you our \u003ca href=\"https://www.npr.org/sections/codeswitch/\" target=\"_blank\" rel=\"noopener\">\u003cem>Code Switch\u003c/em>\u003c/a> Guide to Halloween\u003cem>. \u003c/em>Unsure if your decorations have racial overtones? Wondering what costumes\u003cem> are\u003c/em> fair game? We’ve got you covered so you can have some fearful fun.\u003c/p>\n\u003chr>\n\u003cp>Let’s start with some terminology: Halloween is all about the fantastical world of horror. Scary costumes, eerie noises, creepy decorations, \u003ca href=\"https://twitter.com/cursedimages?lang=en\">cursed images\u003c/a>. But … “spooky”? It’s a term some people use around this time of year without much thought. But in the era after World War II, it also became a slur for black people. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask Code Switch\u003c/a> reader wrote in 2017 to ask us about the appropriate use of “spook” and “spooky,” so we dove into its history and \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/24/559502238/this-halloween-what-does-it-mean-to-call-something-spooky\">offered some guidance\u003c/a>:\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” sociolinguist Renee Blake told us. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, okay, you mean ‘Did you get scared or frightened?’ That’s fine—I get it.” In other words, be conscious of your surroundings.\u003c/p>\n\u003cp>Of course, when it comes to Halloween, language is just the beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We have a joke here at \u003cem>Code Switch\u003c/em> that Halloween is like blackface Christmas. And every year, there’s at least one headline with the story of one very tasteless costume. These scandals cycle back around \u003ca href=\"https://www.nytimes.com/2013/10/31/fashion/a-halloween-risk-racism-in-disguise.html?smid=tw-nytstyles&seid=auto&_r=1&\">again\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/10/23/media/megyn-kelly-blackface/index.html\">again\u003c/a> and \u003ca href=\"https://www.npr.org/2019/09/20/762643480/trudeaus-blackface-incidents-reveal-another-side-of-canada\">again\u003c/a>.\u003c/p>\n\u003cp>When it comes to this topic, we’ve been there before—with a \u003ca href=\"https://www.npr.org/2019/02/07/692237314/were-going-to-start-a-dialogue-again\">whole podcast episode\u003c/a> about it. As our very own Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">put it\u003c/a>, in response to the infamous Megyn Kelly statement that she didn’t understand why blackface on Halloween is a problem: “Maybe these annual conversations should be less about \u003cem>whether\u003c/em> blackface is bad, but why so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>Sure, no one \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/northam-mum-about-his-plans-after-a-flood-of-calls-for-his-resignation-for-racist-and-offensive-photo/2019/02/02/5883402a-26e9-11e9-90cd-dedb0c92dc17_story.html?wpisrc=al_news__alert-national--alert-politics--alert-local-politics&wpmk=1\">ever\u003c/a> *\u003ca href=\"https://www.shreveporttimes.com/story/news/2017/02/27/political-website-shows-la-house-candidate-blackface/98478246/\">really\u003c/a>* \u003ca href=\"https://www.cnn.com/2017/12/18/football/antoine-griezmann-blackface-costume-atletico-madrid/index.html\">intends\u003c/a> to offend others with their rendition of a famous black character or icon (do they?), but intent shouldn’t be at the forefront of our examination (nor should it take precedent in the apology that follows).\u003c/p>\n\u003cp>Moving on from shoe polish, here are some more costume ideas that fit into our do’s and don’ts.\u003c/p>\n\u003cp>First, under the do’s:\u003c/p>\n\u003cp>Go for one of the classics: pirate, astronaut, ghost, cheerleader. You know the drill. Or spice it up with some pop culture creativity: Harness physiological terror by dressing up as a Tethered from \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\">Us\u003c/a>, an alien at Area 51 or, if you’re looking for a group costume, \u003ca href=\"https://www.vox.com/future-perfect/2019/8/6/20756162/30-to-50-feral-hogs-meme-assault-weapons-guns-kids\">30 to 50 feral hogs\u003c/a>.\u003c/p>\n\u003cp>Now for some don’ts:\u003c/p>\n\u003cp>Let’s start with the obvious. Stay away from the \u003ca href=\"https://www.hcn.org/articles/tribal-affairs-lingerie-company-quietly-removes-native-american-themed-costumes\">sexy Indian\u003c/a> fringe-and-headdresses idea (there’s nothing erotic about genocide!). Geisha wear (yes, this includes kimonos) and \u003ca href=\"https://splinternews.com/psa-transphobic-halloween-costumes-like-this-one-are-a-1793862442\">transphobic ensembles\u003c/a> are also off-limits. Anything that makes a spectacle out of a culture or ethnicity is to be avoided.\u003c/p>\n\u003cp>But what if there hasn’t been a media storm condemning a certain costume and you still sense something is off? Like when a reader \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">wrote to us about\u003c/a> her child wanting to dress as a voodoo doll. “I don’t know enough about Louisiana culture or African religious traditions to know whether this would hurt or offend someone,” she said.\u003c/p>\n\u003cp>Her instinct that something felt off? Right on the mark. \u003cem>NPR\u003c/em>‘s Leah Donnella scouted out the origins of “voodoo” and its use as a catchall for many religions. The best known of those is Haitian Vodou, which is vastly misunderstood by Americans and is not to be confused with what you see in movies like \u003ca href=\"http://www.sciencefictionarchives.com/en/other-collections/583/original-indiana-jones-voodoo-doll\">Indiana Jones\u003c/a> or\u003ca href=\"http://religiondispatches.org/bad-magic-voodoo-according-to-disney/\"> The Princess and the Frog\u003c/a>. The conclusion, as \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">our story\u003c/a> put it, is that “when it comes to Halloween, treat Vodou like you would any other faith. That is to say, don’t delve into anyone else’s religious traditions (real or dreamed up by Hollywood) in search of a costume.”\u003c/p>\n\u003cp>All in all, you should trust your suspicions. If you have to ask yourself whether your costume is offensive, it likely is. And you don’t want to be the only one in on the joke.\u003c/p>\n\u003cp>Great. So your language is in check. Your costume is in check. You’re on track to become the best on the block. Now let’s talk decorations.\u003c/p>\n\u003cp>There are endless ways to funk up your displays: jack-o’-lanterns, broomsticks and cobwebs. But then there are optics that send a much more sinister message. In 2018 we answered a \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">question from a listener\u003c/a> who asked about hanging skeletons by a noose outside his home. Was this, he wanted to know, \u003ca href=\"https://www.nytimes.com/2019/10/25/nyregion/nooses-blackface-halloween-decorations.html\">reminiscent of a lynching\u003c/a>?\u003c/p>\n\u003cp>Well, yeah. Images carry meaning that far surpass what may appear to be true at face value. It’s our responsibility to seek that understanding even when—and especially if—our identities have shielded us from those legacies of horror. \u003ca href=\"http://www.monroeworktoday.org/lynching.html\">The era of lynching\u003c/a> in America began after Reconstruction, and between 1877 and 1950, over 4,000 African Americans were murdered in racial lynchings, often becoming public spectacles for white community residents. (Our podcast episode “\u003ca href=\"https://www.npr.org/2019/10/21/772080008/a-strange-and-bitter-crop\">A Strange and Bitter Crop\u003c/a>” explores the horror of the Claude Neal lynching of 1934.)\u003c/p>\n\u003cp>Don’t worry—you can still make use of your skeletons. NPR’s Mayowa Aina \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">suggests\u003c/a> sitting the skeleton up in a tree so it looks like someone died and decomposed or even using spiderwebs instead of rope. Decorations are fun because you can use your imagination, so get creative and avoid invoking historical trauma.\u003c/p>\n\u003cp>So this year and always, be mindful of your mischief. Entertainment this All Hallows’ Eve doesn’t have to come at a cost to anyone, and avoiding missteps doesn’t take much extra effort.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Oh, there’s still a perennial Halloween debate that we’re not going to solve here. Even after years of controversy, the C\u003cem>ode Switch\u003c/em> team is split on this one: Is \u003ca href=\"https://twitter.com/wbaltv11/status/1184967202665046017\">candy corn\u003c/a> good or bad? We’d love to know \u003ca href=\"mailto:codeswitch@npr.org\">what side you’re on\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Code+Switch+Guide+To+Halloween&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year: Leaves are falling, temperatures are dropping, families are heading out to the pumpkin patch and that \u003cem>one \u003c/em>neighbor is preparing to hand out raisins to kids who’d much, much rather have candy. All is well—at least until our social media feeds are flooded with the annual onslaught of racial Halloween faux pas.\u003c/p>\n\u003cp>Often these incidents trigger debate about what should and shouldn’t be allowed when it comes to festivities. It’s a tired conversation that often ends in diatribes about the tyranny of political correctness and how no one knows how to have \u003cem>fun \u003c/em>anymore. We don’t want to have that conversation; we’d rather just eat our treats in peace. That’s why we’re bringing you our \u003ca href=\"https://www.npr.org/sections/codeswitch/\" target=\"_blank\" rel=\"noopener\">\u003cem>Code Switch\u003c/em>\u003c/a> Guide to Halloween\u003cem>. \u003c/em>Unsure if your decorations have racial overtones? Wondering what costumes\u003cem> are\u003c/em> fair game? We’ve got you covered so you can have some fearful fun.\u003c/p>\n\u003chr>\n\u003cp>Let’s start with some terminology: Halloween is all about the fantastical world of horror. Scary costumes, eerie noises, creepy decorations, \u003ca href=\"https://twitter.com/cursedimages?lang=en\">cursed images\u003c/a>. But … “spooky”? It’s a term some people use around this time of year without much thought. But in the era after World War II, it also became a slur for black people. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask Code Switch\u003c/a> reader wrote in 2017 to ask us about the appropriate use of “spook” and “spooky,” so we dove into its history and \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/24/559502238/this-halloween-what-does-it-mean-to-call-something-spooky\">offered some guidance\u003c/a>:\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” sociolinguist Renee Blake told us. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, okay, you mean ‘Did you get scared or frightened?’ That’s fine—I get it.” In other words, be conscious of your surroundings.\u003c/p>\n\u003cp>Of course, when it comes to Halloween, language is just the beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We have a joke here at \u003cem>Code Switch\u003c/em> that Halloween is like blackface Christmas. And every year, there’s at least one headline with the story of one very tasteless costume. These scandals cycle back around \u003ca href=\"https://www.nytimes.com/2013/10/31/fashion/a-halloween-risk-racism-in-disguise.html?smid=tw-nytstyles&seid=auto&_r=1&\">again\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/10/23/media/megyn-kelly-blackface/index.html\">again\u003c/a> and \u003ca href=\"https://www.npr.org/2019/09/20/762643480/trudeaus-blackface-incidents-reveal-another-side-of-canada\">again\u003c/a>.\u003c/p>\n\u003cp>When it comes to this topic, we’ve been there before—with a \u003ca href=\"https://www.npr.org/2019/02/07/692237314/were-going-to-start-a-dialogue-again\">whole podcast episode\u003c/a> about it. As our very own Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">put it\u003c/a>, in response to the infamous Megyn Kelly statement that she didn’t understand why blackface on Halloween is a problem: “Maybe these annual conversations should be less about \u003cem>whether\u003c/em> blackface is bad, but why so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>Sure, no one \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/northam-mum-about-his-plans-after-a-flood-of-calls-for-his-resignation-for-racist-and-offensive-photo/2019/02/02/5883402a-26e9-11e9-90cd-dedb0c92dc17_story.html?wpisrc=al_news__alert-national--alert-politics--alert-local-politics&wpmk=1\">ever\u003c/a> *\u003ca href=\"https://www.shreveporttimes.com/story/news/2017/02/27/political-website-shows-la-house-candidate-blackface/98478246/\">really\u003c/a>* \u003ca href=\"https://www.cnn.com/2017/12/18/football/antoine-griezmann-blackface-costume-atletico-madrid/index.html\">intends\u003c/a> to offend others with their rendition of a famous black character or icon (do they?), but intent shouldn’t be at the forefront of our examination (nor should it take precedent in the apology that follows).\u003c/p>\n\u003cp>Moving on from shoe polish, here are some more costume ideas that fit into our do’s and don’ts.\u003c/p>\n\u003cp>First, under the do’s:\u003c/p>\n\u003cp>Go for one of the classics: pirate, astronaut, ghost, cheerleader. You know the drill. Or spice it up with some pop culture creativity: Harness physiological terror by dressing up as a Tethered from \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\">Us\u003c/a>, an alien at Area 51 or, if you’re looking for a group costume, \u003ca href=\"https://www.vox.com/future-perfect/2019/8/6/20756162/30-to-50-feral-hogs-meme-assault-weapons-guns-kids\">30 to 50 feral hogs\u003c/a>.\u003c/p>\n\u003cp>Now for some don’ts:\u003c/p>\n\u003cp>Let’s start with the obvious. Stay away from the \u003ca href=\"https://www.hcn.org/articles/tribal-affairs-lingerie-company-quietly-removes-native-american-themed-costumes\">sexy Indian\u003c/a> fringe-and-headdresses idea (there’s nothing erotic about genocide!). Geisha wear (yes, this includes kimonos) and \u003ca href=\"https://splinternews.com/psa-transphobic-halloween-costumes-like-this-one-are-a-1793862442\">transphobic ensembles\u003c/a> are also off-limits. Anything that makes a spectacle out of a culture or ethnicity is to be avoided.\u003c/p>\n\u003cp>But what if there hasn’t been a media storm condemning a certain costume and you still sense something is off? Like when a reader \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">wrote to us about\u003c/a> her child wanting to dress as a voodoo doll. “I don’t know enough about Louisiana culture or African religious traditions to know whether this would hurt or offend someone,” she said.\u003c/p>\n\u003cp>Her instinct that something felt off? Right on the mark. \u003cem>NPR\u003c/em>‘s Leah Donnella scouted out the origins of “voodoo” and its use as a catchall for many religions. The best known of those is Haitian Vodou, which is vastly misunderstood by Americans and is not to be confused with what you see in movies like \u003ca href=\"http://www.sciencefictionarchives.com/en/other-collections/583/original-indiana-jones-voodoo-doll\">Indiana Jones\u003c/a> or\u003ca href=\"http://religiondispatches.org/bad-magic-voodoo-according-to-disney/\"> The Princess and the Frog\u003c/a>. The conclusion, as \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/10/13/554251889/on-halloween-remember-voodoo-isnt-black-magic\">our story\u003c/a> put it, is that “when it comes to Halloween, treat Vodou like you would any other faith. That is to say, don’t delve into anyone else’s religious traditions (real or dreamed up by Hollywood) in search of a costume.”\u003c/p>\n\u003cp>All in all, you should trust your suspicions. If you have to ask yourself whether your costume is offensive, it likely is. And you don’t want to be the only one in on the joke.\u003c/p>\n\u003cp>Great. So your language is in check. Your costume is in check. You’re on track to become the best on the block. Now let’s talk decorations.\u003c/p>\n\u003cp>There are endless ways to funk up your displays: jack-o’-lanterns, broomsticks and cobwebs. But then there are optics that send a much more sinister message. In 2018 we answered a \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">question from a listener\u003c/a> who asked about hanging skeletons by a noose outside his home. Was this, he wanted to know, \u003ca href=\"https://www.nytimes.com/2019/10/25/nyregion/nooses-blackface-halloween-decorations.html\">reminiscent of a lynching\u003c/a>?\u003c/p>\n\u003cp>Well, yeah. Images carry meaning that far surpass what may appear to be true at face value. It’s our responsibility to seek that understanding even when—and especially if—our identities have shielded us from those legacies of horror. \u003ca href=\"http://www.monroeworktoday.org/lynching.html\">The era of lynching\u003c/a> in America began after Reconstruction, and between 1877 and 1950, over 4,000 African Americans were murdered in racial lynchings, often becoming public spectacles for white community residents. (Our podcast episode “\u003ca href=\"https://www.npr.org/2019/10/21/772080008/a-strange-and-bitter-crop\">A Strange and Bitter Crop\u003c/a>” explores the horror of the Claude Neal lynching of 1934.)\u003c/p>\n\u003cp>Don’t worry—you can still make use of your skeletons. NPR’s Mayowa Aina \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/10/27/416856004/this-halloween-be-careful-how-you-hang-your-decorations\">suggests\u003c/a> sitting the skeleton up in a tree so it looks like someone died and decomposed or even using spiderwebs instead of rope. Decorations are fun because you can use your imagination, so get creative and avoid invoking historical trauma.\u003c/p>\n\u003cp>So this year and always, be mindful of your mischief. Entertainment this All Hallows’ Eve doesn’t have to come at a cost to anyone, and avoiding missteps doesn’t take much extra effort.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, there’s still a perennial Halloween debate that we’re not going to solve here. Even after years of controversy, the C\u003cem>ode Switch\u003c/em> team is split on this one: Is \u003ca href=\"https://twitter.com/wbaltv11/status/1184967202665046017\">candy corn\u003c/a> good or bad? We’d love to know \u003ca href=\"mailto:codeswitch@npr.org\">what side you’re on\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Code+Switch+Guide+To+Halloween&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inzsKlVR_N8\u003c/p>\n\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KyoE0mSJXO8\u003c/p>\n\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/inzsKlVR_N8'\n title='//www.youtube.com/embed/inzsKlVR_N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KyoE0mSJXO8'\n title='//www.youtube.com/embed/KyoE0mSJXO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "prince-memoir-the-beautiful-ones-brings-to-life-a-vision-in-ones-mind",
"title": "Prince Memoir, 'The Beautiful Ones,' Brings To Life A Vision In One's Mind",
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"content": "\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>[aside tag='prince' label='More on Prince']\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "You won't get a full picture of Prince from this book, but it does manage to pierce through some of the mystery the renowned artist purposely cultivated around and about himself.",
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"title": "Prince Memoir, 'The Beautiful Ones,' Brings To Life A Vision In One's Mind | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tom DeLonge is UFO-Hunting With the Army Now Because This Timeline is Nuts",
"headTitle": "Tom DeLonge is UFO-Hunting With the Army Now Because This Timeline is Nuts | KQED",
"content": "\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JMl8cQjBfqk\u003c/p>\n\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=er1jVsxg3sc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JMl8cQjBfqk'\n title='//www.youtube.com/embed/JMl8cQjBfqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/er1jVsxg3sc'\n title='//www.youtube.com/embed/er1jVsxg3sc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the place where music, technology and politics converge, you’ll find… discord. A group of more than 380 musicians — including well-known indie artists like Ted Leo, Deerhoof, Damon & Naomi, Zola Jesus, Downtown Boys and Sheer Mag — pledged in an open letter on Thursday to cut all business ties with Amazon over the work of its gargantuan Amazon Web Services (AWS) subsidiary.\u003c/p>\n\u003cp>[aside postID='arts_13849625' label='Stories For You']\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13852882' label='Apple Isn't Paying Artists Who Perform at Its Stores']\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>[aside postID='arts_13859794' label='Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It is both a positive and negative attribute of the anthology series that it tends to be uneven. \u003cem>Black Mirror \u003c/em>is, the new \u003cem>Twilight Zone \u003c/em>was, \u003cem>Room 104 \u003c/em>is. And now, Amazon is presenting an eight-episode series based on the loved, hated, and love-to-hated \u003cem>New York Times \u003c/em>column \u003cem>Modern Love\u003c/em>. Created by John Carney, who directed \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, it is—of course—uneven.\u003c/p>\n\u003cp>The column has a cozy (or is it irritating?) tendency to build itself around a hook, a little lesson about How Love Works. Each of these episodes is based on an existing column, and shares that tendency to tie itself up a little too neatly, as a New York tale with an indie-music, coffee-shop gentility. The first episode, “When The Doorman Is Your Main Man,” finds a young woman (Cristin Milioti) relying on her kindly doorman (Laurentiu Possa) to help her cope with her dating life and then her unexpected pregnancy. Another, “Rallying To Keep The Game Alive,” tracks a couple (Tina Fey and John Slattery) discovering that tennis can serve as a bond as their marriage weathers midlife stresses. “Love works this way,” each episode suggests as it tucks you into its pretty and friendly New York City like a wool blanket.\u003c/p>\n\u003cp>Carney is a curious choice to head up this series, because \u003cem>Once \u003c/em>and \u003cem>Sing Street \u003c/em>are both about ideas of love that are much less neat. In fact, perhaps surprisingly, the neatness and the lesson-learning of \u003cem>Modern Love \u003c/em>are what often makes the series seem slight. You would expect, maybe, a Carney take on a romantic anthology to be about less obvious angles than the fact that older people on their second marriages can still fall meaningfully in love, or that the last thing you want is to find yourself with regrets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=650Mt63HIBU\u003c/p>\n\u003cp>Where \u003cem>Modern Love \u003c/em>gets most of its shine is from its cast. In addition to all those mentioned above, it also features Anne Hathaway, Andrew Scott (yes, that’s Hot Priest to you \u003cem>Fleabag \u003c/em>people), Andy Garcia, James Saito, Jane Alexander, Catherine Keener, Dev Patel, and many others. It is \u003cem>definitively \u003c/em>a good idea for Tina Fey and John Slattery to play a New York married couple; that is a gift. That their story isn’t all that compelling doesn’t mean it’s not worth watching, simply to see them interact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while the stories often feel pat, there are some interesting experiments to be found here. Hathaway plays a woman who isn’t sure how to tell potential dates she’s bipolar, and the way music and fantasy sequences are deployed turn out to be a pretty effective method of demonstrating how completely different she feels like she is, depending on what her brain is doing. (It’s probably also the story that feels the least like the rest.)\u003c/p>\n\u003cp>Some episodes are more true to their source material than others. An essay by Dan Savage about the very complicated open adoption of his son becomes the episode starring Andrew Scott and Brandon Kyle Goodman as a gay couple who adopt from a homeless woman (Olivia Cooke). Where Savage’s piece is full of frustration and uncertainty about the child’s relationship with his birth mother, the episode is mostly about a worrying father-to-be learning to embrace the uncertainty of a quirky homeless person’s existence. It’s a reductive take on the story, and not at all true to either this particular real-life tale or Savage’s general posture as a writer.\u003c/p>\n\u003cp>It’s not easy to tell a romantic story in a half-hour, which is the approximate length of these episodes (within, say, five minutes). You have to establish two people (sometimes more), set the stage, create a problem, and create some resolution to that problem—in a third of the length of a feature film. And anthologies are, in general, a good thing, in that they allow for people to try things: combinations of actors, formal experiments, directing strategies, and so forth. But \u003cem>Modern Love \u003c/em>really feels like it would have benefited from less tidiness, less ponderousness—maybe even, dare I say, a little less \u003cem>New York Times\u003c/em>-iness. Where it wants to be whimsical it comes across as cloying, and where it wants to speak to something common to multiple stories of (mostly white, mostly affluent) New York love, the emotions almost feel franchised.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like the \u003cem>Modern Love \u003c/em>column itself, the series does have its pleasures and its truths. But—again, like the column—there’s a little less there than meets the eye.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Modern+Love%27+Is+An+Uneven+Tour+Of+New+York+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is both a positive and negative attribute of the anthology series that it tends to be uneven. \u003cem>Black Mirror \u003c/em>is, the new \u003cem>Twilight Zone \u003c/em>was, \u003cem>Room 104 \u003c/em>is. And now, Amazon is presenting an eight-episode series based on the loved, hated, and love-to-hated \u003cem>New York Times \u003c/em>column \u003cem>Modern Love\u003c/em>. Created by John Carney, who directed \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, it is—of course—uneven.\u003c/p>\n\u003cp>The column has a cozy (or is it irritating?) tendency to build itself around a hook, a little lesson about How Love Works. Each of these episodes is based on an existing column, and shares that tendency to tie itself up a little too neatly, as a New York tale with an indie-music, coffee-shop gentility. The first episode, “When The Doorman Is Your Main Man,” finds a young woman (Cristin Milioti) relying on her kindly doorman (Laurentiu Possa) to help her cope with her dating life and then her unexpected pregnancy. Another, “Rallying To Keep The Game Alive,” tracks a couple (Tina Fey and John Slattery) discovering that tennis can serve as a bond as their marriage weathers midlife stresses. “Love works this way,” each episode suggests as it tucks you into its pretty and friendly New York City like a wool blanket.\u003c/p>\n\u003cp>Carney is a curious choice to head up this series, because \u003cem>Once \u003c/em>and \u003cem>Sing Street \u003c/em>are both about ideas of love that are much less neat. In fact, perhaps surprisingly, the neatness and the lesson-learning of \u003cem>Modern Love \u003c/em>are what often makes the series seem slight. You would expect, maybe, a Carney take on a romantic anthology to be about less obvious angles than the fact that older people on their second marriages can still fall meaningfully in love, or that the last thing you want is to find yourself with regrets.\u003c/p>\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/650Mt63HIBU'\n title='//www.youtube.com/embed/650Mt63HIBU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Where \u003cem>Modern Love \u003c/em>gets most of its shine is from its cast. In addition to all those mentioned above, it also features Anne Hathaway, Andrew Scott (yes, that’s Hot Priest to you \u003cem>Fleabag \u003c/em>people), Andy Garcia, James Saito, Jane Alexander, Catherine Keener, Dev Patel, and many others. It is \u003cem>definitively \u003c/em>a good idea for Tina Fey and John Slattery to play a New York married couple; that is a gift. That their story isn’t all that compelling doesn’t mean it’s not worth watching, simply to see them interact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while the stories often feel pat, there are some interesting experiments to be found here. Hathaway plays a woman who isn’t sure how to tell potential dates she’s bipolar, and the way music and fantasy sequences are deployed turn out to be a pretty effective method of demonstrating how completely different she feels like she is, depending on what her brain is doing. (It’s probably also the story that feels the least like the rest.)\u003c/p>\n\u003cp>Some episodes are more true to their source material than others. An essay by Dan Savage about the very complicated open adoption of his son becomes the episode starring Andrew Scott and Brandon Kyle Goodman as a gay couple who adopt from a homeless woman (Olivia Cooke). Where Savage’s piece is full of frustration and uncertainty about the child’s relationship with his birth mother, the episode is mostly about a worrying father-to-be learning to embrace the uncertainty of a quirky homeless person’s existence. It’s a reductive take on the story, and not at all true to either this particular real-life tale or Savage’s general posture as a writer.\u003c/p>\n\u003cp>It’s not easy to tell a romantic story in a half-hour, which is the approximate length of these episodes (within, say, five minutes). You have to establish two people (sometimes more), set the stage, create a problem, and create some resolution to that problem—in a third of the length of a feature film. And anthologies are, in general, a good thing, in that they allow for people to try things: combinations of actors, formal experiments, directing strategies, and so forth. But \u003cem>Modern Love \u003c/em>really feels like it would have benefited from less tidiness, less ponderousness—maybe even, dare I say, a little less \u003cem>New York Times\u003c/em>-iness. Where it wants to be whimsical it comes across as cloying, and where it wants to speak to something common to multiple stories of (mostly white, mostly affluent) New York love, the emotions almost feel franchised.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like the \u003cem>Modern Love \u003c/em>column itself, the series does have its pleasures and its truths. But—again, like the column—there’s a little less there than meets the eye.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Modern+Love%27+Is+An+Uneven+Tour+Of+New+York+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘She Makes Me Shine,’ Dorothy Nyong’o Accepts Award For Fueling Lupita’s Passion for Art | KQED",
"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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"headline": "'She Makes Me Shine,' Dorothy Nyong'o Accepts Award For Fueling Lupita's Passion for Art",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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