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"content": "\u003cp>For over two decades, Missy Elliott has created with her eyes and ears towards the future.\u003c/p>\n\u003cp>She was body positive before it was a marketing gimmick (“\u003ca href=\"https://www.youtube.com/watch?v=atIvKSfKDOA\" target=\"_blank\" rel=\"noopener noreferrer\">I got a cute face / chubby waist\u003c/a>“). She \u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\" target=\"_blank\" rel=\"noopener noreferrer\">embraced Afrofuturism\u003c/a> before it became part of the pop culture lexicon. She went overseas to Korea to work with \u003ca href=\"https://www.youtube.com/watch?v=8VjE4RHZAaI\" target=\"_blank\" rel=\"noopener noreferrer\">G-Dragon\u003c/a> before K-Pop charted on Billboard. And, from 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=hHcyJPTTn9w\" target=\"_blank\" rel=\"noopener noreferrer\">The Rain (Supa Dupa Fly)\u003c/a>” to 2019’s “\u003ca href=\"https://www.youtube.com/watch?v=9rOKdATrV4g\" target=\"_blank\" rel=\"noopener noreferrer\">Throw It Back\u003c/a>,” she produced, rapped, danced and sang at the highest level, and used her talents to make listeners feel like their best, most liberated selves.\u003c/p>\n\u003cp>Justin Timberlake was right, speaking in \u003ca href=\"https://www.youtube.com/watch?v=pjDz-B-m0Vw\" target=\"_blank\" rel=\"noopener noreferrer\">the testimonials\u003c/a> that played on MTV before Elliott took the VMA stage: her reception of the Video Vanguard Award at tonight’s ceremony was an incredibly belated accolade. And the technicolor celebration of self-love, blackness, immigrant identity, queerness and fatness on display throughout the awards proved that Elliott’s pop music philosophy—the rhythm’s potential to free us from shame so we can all celebrate our bodies, identities and selves—has come to fruition and then some in 2019.\u003c/p>\n\u003cp>On stage at the VMAs, Missy Elliott took fans through 20 years of career highlights in a dazzling seven-minute show filled with airtight choreography, CGI visuals and homages to her best-known music videos. She and her dancers revisited era-defining tracks like “Lose Control,” “Get Your Freak On” and “Work It,” which included a show-stopping dance number from \u003ca href=\"https://twitter.com/vmas/status/1166157038331867136?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Alyson Stoner\u003c/a>, the little girl in the video now all grown up.\u003c/p>\n\u003cp>Elliott’s iconic inflatable suit made an appearance during “The Rain (Supa Dupa Fly),” the outfit in which she defiantly, exaggeratedly took up space during \u003ca href=\"https://www.nytimes.com/1997/09/07/arts/the-model-who-invented-heroin-chic.html\" target=\"_blank\" rel=\"noopener noreferrer\">peak heroin chic\u003c/a> in the late ’90s. We saw the cornfields from the “Pass That Dutch” video transform from historical sites of exploitation into a party for black ingenuity. Set designs, costume changes and complex group choreography flowed from one track into the next so quickly and seamlessly that it was easy to forget to breathe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MTV/status/1166161090331500544?s=20\u003c/p>\n\u003cp>This was Elliott’s night, and her influence echoed throughout the VMAs before and after her performance. Lil Nas X’s rendition of “\u003ca href=\"https://twitter.com/MTVNEWS/status/1166151868776624128?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Panini\u003c/a>,” where he danced in a black-lit, neon robot outfit in a set reminiscent of \u003cem>Blade Runner\u003c/em>, recalled the cowboy-meets-cyborg getups Elliott wore in the “\u003ca href=\"https://www.youtube.com/watch?v=opkRF3UZSJw\" target=\"_blank\" rel=\"noopener noreferrer\">She’s a Bitch\u003c/a>” music video from 1999.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/lizzo/status/1166185191444033541?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>, whose work descents from Elliott’s fat-positive, sex-positive vision of self-love, and with whom Elliott collaborated this year on the thick-girl anthem “Tempo,” took the stage with dancers of all shapes and sizes in front of a giant, jiggling booty. In the testimonials that played before Elliott’s turn to take the stage, Lizzo teared up while recalling the magnitude of Elliott’s influence. And Normani’s impressively athletic choreography during her performance of “\u003ca href=\"https://twitter.com/MTV/status/1166182278701228034?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Motivation\u003c/a>” seemed inspired by Ciara—an artist Elliott developed and produced early on in her career.\u003c/p>\n\u003cp>https://twitter.com/LilNasX/status/1166193669302562823?s=20\u003c/p>\n\u003cp>Elliott and the Gen Z and millennial artists she’s influenced imbued the VMAs with a refreshing sense of joy missing on the show in recent years, and the air of celebration carried over into the rest of the night, as people of a wide variety of identities historically underrepresented on MTV got a chance to shine. Taylor Swift brought a gaggle of queer and trans artists on stage after winning the Video for Good award for “You Need to Calm Down,” and stepped aside as executive producer \u003ca href=\"https://www.etonline.com/todrick-hall-delivers-moving-words-for-taylor-swift-while-helping-her-accept-award-at-2019-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">Todrick Hall\u003c/a> gave the acceptance speech.\u003c/p>\n\u003cp>Performances from Ozuna, J Balvin and Bad Bunny (and J Balvin’s heartfelt speech when he accepted the Best Latin award with Rosalía for “Con Altura”) brimmed with Latinx pride. And the introduction of the new Best K-Pop category further attested to the evening’s celebration of many different cultural identities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Missy Elliott herself hasn’t publicly addressed all of these issues (for instance, she’s widely regarded as a queer icon, despite being completely private about her personal life). But she has clearly empowered by example. Her music’s message of acceptance and celebration came through loud and clear, reverberating through decades of pop until it reflected back at her on the 2019 VMA stage.\u003c/p>\n\n",
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"content": "\u003cp>There are two graphic novels out this summer about Jean-Michel Basquiat, and you’re definitely going to hate one of them. Which one? That’s harder to say. \u003ca href=\"https://www.npr.org/books/titles/753548833/basquiat\">Julian Voloj and Søren Mosdal’s \u003cem>Basquiat\u003c/em>\u003c/a> and Paolo Parisi’s \u003cem>Basquiat: A Graphic Novel\u003c/em> couldn’t be more different: Mosdal emulates the artist’s agitated lines, while Parisi uses flat zones of primary color, in the style of Basquiat’s mentor Andy Warhol. Aficionados will doubtless disagree about which book works—but that was probably inevitable. There’s something inherently odd about using one artistic tradition to depict the life (to say nothing of reproducing the work) of an artist from a different tradition. And yet, not only are a growing number of cartoonists creating books about famous artists, but their approaches are dizzyingly varied. When is a comic book a fitting tribute to an icon?\u003c/p>\n\u003cp>It’s a question that numerous publishers and creators are eager to address. Andy Warhol, Salvador Dalí, Jackson Pollock and Francis Bacon have all been memorialized in panel form in recent years. It’s not a stretch to use the quintessentially modern medium of comics to capture the life of a 20th-century artist; the free-flowing \u003ca href=\"https://www.npr.org/books/titles/753549304/niki-de-saint-phalle-the-garden-of-secrets\">\u003cem>Niki de Saint Phalle: The Garden of Secrets\u003c/em>, by Dominique Osuch and Sandrine Martin\u003c/a>, is a particularly ingenious tribute to an underappreciated figure. But even Velázquez, Caravaggio and Goya are getting cartoon treatments.\u003c/p>\n\u003cfigure id=\"attachment_13864881\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg\" alt=\"'This Is Monet' by Sara Pappworth and Aude Van Ryn.\" width=\"400\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85-160x210.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Monet’\u003cbr>by Sara Pappworth and Aude Van Ryn.\u003c/figcaption>\u003c/figure>\n\u003cp>The results of such attempts vary widely, but one rule is clear: Don’t reproduce the artist’s paintings if you can possibly get away with it. That’s the misstep of \u003ca href=\"https://www.npr.org/books/titles/753550360/monet-itinerant-of-light\">\u003cem>Monet: Itinerant of Light\u003c/em>, by Salva Rubio and Efa\u003c/a>. Efa envisions the world around Monet the way the artist would paint it, with vivid patches of light and dark dappling every scene. It makes for a beautiful book—that is, until you get to Efa’s recreations of Monet’s best-known paintings, which naturally suffer by comparison with the originals. In \u003cem>This Is Monet\u003c/em>, on the other hand, illustrator Aude Van Ryn doesn’t attempt to duplicate her subject’s famous works. Instead, the book intersperses color plates of the actual paintings with Van Ryn’s drawings of scenes from Monet’s life. (In one particularly charming interlude, the Monet family helps to carry canvases in a wheelbarrow). Van Ryn’s style is complementary without being imitative—a tough balancing act that Efa doesn’t pull off.\u003c/p>\n\u003cp>\u003cem>This Is Monet\u003c/em> is part of an unusual series from British publisher Laurence King that combines biographical text, reproductions and modern illustrations. “I wanted to be able to show, in illustrations, the pop culture that existed around the artists,” series editor Catherine Ingram says. “Even … Old Masters paintings, they’ve got a vibrant visual culture they’re tapping on. That visual culture is missing from art history books. It’s time to get back to that, to get the illustrators involved.”\u003c/p>\n\u003cfigure id=\"attachment_13864884\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864884 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg\" alt=\"'7 Miles a Second' by David Wojnarowicz, James Romberger and Marguerite Van Cook.\" width=\"400\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85-160x216.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘7 Miles a Second’\u003cbr>by David Wojnarowicz, James Romberger and Marguerite Van Cook.\u003c/figcaption>\u003c/figure>\n\u003cp>Some corners of the art world have always embraced comics, of course. In 1988, David Wojnarowicz asked his friend and fellow East Village artist James Romberger to collaborate with him on \u003cem>Seven Miles a Second,\u003c/em> an adaptation of Wojnarowicz’ autobiographical writings. Romberger, whose depictions of downtown New York life can be found in many museums’ collections, had to finish the book alone after Wojnarowicz died of AIDS in 1992. But he was aided by Marguerite Van Cook, who’d shown Wojnarowicz in her gallery, gone on road trips with him and had long discussions with him about color theory. Van Cook gave the book its explosive palette. (The book was reissued by Fantagraphics in 2013 and is now being self-published by Romberger and Van Cook.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Marguerite kind of lets things rush outside the lines,” Romberger says. “The color is running, smushing together—it’s not so defined. In comics the lines are usually… meant to hold in the color. Marguerite does something where the color is actually erupting outside of the lines, breaking the boundaries. Which kind of suits David, who’s someone who was very much against boundaries.”\u003c/p>\n\u003cp>\u003cem>Seven Miles a Second\u003c/em> remains a landmark crossover between comic art and fine art. It was a similar desire to bridge the high-low divide that led Boston’s Isabella Stewart Gardner Museum to incorporate comics into its spring Botticelli exhibit. The museum hired Karl Stevens, known for such graphic novels as 2010’s \u003cem>The Lodger\u003c/em> and last year’s \u003cem>The Winner\u003c/em>, to create cartoons of the Roman myths behind Botticelli’s \u003cem>The Tragedy of Lucretia\u003c/em> and \u003cem>The Story of Virginia.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13864885\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg\" alt=\"The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli's paintings.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85-160x120.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli’s paintings. \u003ccite>(David Matthews/Courtesy of the Isabella Stewart Gardner Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I thought one of the ways we could make Botticelli appealing to an audience who were not familiar with him was to approach these narrative paintings through the lens of a graphic novel,” says Nathaniel Silver, the William and Lia Poorvu Curator of the Collection at the museum. Stevens puts it a bit differently: “Museums have gotten tighter with cash, and they need to find ways to bring in the rabble.” Stevens believes the mainstream art world will always look down its nose at comics to some degree. Comic art, he notes, has “always been seen as an offshoot of commercial art, which it was originally. It was designed for the mass market. It wasn’t designed for elitist rich people, which is [who] fine art has always been for.”\u003c/p>\n\u003cp>That may explain the fascinating energy that infuses so many graphic novels about art. Illustrating artists’ lives through a lowbrow medium detaches them from their elevated creations and places them back on a human plane. Silver notes that while Stevens’ work on the Botticelli exhibit might seem humble, his position isn’t so different from what Botticelli’s was in his own time. Both then and now, Silver says, artists had to struggle to capture the attention of a broad, easily distractible audience.\u003c/p>\n\u003cp>“We tried to show how these stories were reinterpreted by Botticelli in his time to make them relevant to a contemporary audience in the Renaissance,” Silver says. “In the same way, they can be reinterpreted in our time, to make them relevant to a contemporary audience in 2019.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Comic+Art+Meets+High+Art%2C+the+Results+Will+Surprise+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "In recent years, several graphic novel biographies of fine artists have come out—some more successful than others. One rule is clear: Don't reproduce an artist's paintings if you can avoid it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two graphic novels out this summer about Jean-Michel Basquiat, and you’re definitely going to hate one of them. Which one? That’s harder to say. \u003ca href=\"https://www.npr.org/books/titles/753548833/basquiat\">Julian Voloj and Søren Mosdal’s \u003cem>Basquiat\u003c/em>\u003c/a> and Paolo Parisi’s \u003cem>Basquiat: A Graphic Novel\u003c/em> couldn’t be more different: Mosdal emulates the artist’s agitated lines, while Parisi uses flat zones of primary color, in the style of Basquiat’s mentor Andy Warhol. Aficionados will doubtless disagree about which book works—but that was probably inevitable. There’s something inherently odd about using one artistic tradition to depict the life (to say nothing of reproducing the work) of an artist from a different tradition. And yet, not only are a growing number of cartoonists creating books about famous artists, but their approaches are dizzyingly varied. When is a comic book a fitting tribute to an icon?\u003c/p>\n\u003cp>It’s a question that numerous publishers and creators are eager to address. Andy Warhol, Salvador Dalí, Jackson Pollock and Francis Bacon have all been memorialized in panel form in recent years. It’s not a stretch to use the quintessentially modern medium of comics to capture the life of a 20th-century artist; the free-flowing \u003ca href=\"https://www.npr.org/books/titles/753549304/niki-de-saint-phalle-the-garden-of-secrets\">\u003cem>Niki de Saint Phalle: The Garden of Secrets\u003c/em>, by Dominique Osuch and Sandrine Martin\u003c/a>, is a particularly ingenious tribute to an underappreciated figure. But even Velázquez, Caravaggio and Goya are getting cartoon treatments.\u003c/p>\n\u003cfigure id=\"attachment_13864881\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg\" alt=\"'This Is Monet' by Sara Pappworth and Aude Van Ryn.\" width=\"400\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85-160x210.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Monet’\u003cbr>by Sara Pappworth and Aude Van Ryn.\u003c/figcaption>\u003c/figure>\n\u003cp>The results of such attempts vary widely, but one rule is clear: Don’t reproduce the artist’s paintings if you can possibly get away with it. That’s the misstep of \u003ca href=\"https://www.npr.org/books/titles/753550360/monet-itinerant-of-light\">\u003cem>Monet: Itinerant of Light\u003c/em>, by Salva Rubio and Efa\u003c/a>. Efa envisions the world around Monet the way the artist would paint it, with vivid patches of light and dark dappling every scene. It makes for a beautiful book—that is, until you get to Efa’s recreations of Monet’s best-known paintings, which naturally suffer by comparison with the originals. In \u003cem>This Is Monet\u003c/em>, on the other hand, illustrator Aude Van Ryn doesn’t attempt to duplicate her subject’s famous works. Instead, the book intersperses color plates of the actual paintings with Van Ryn’s drawings of scenes from Monet’s life. (In one particularly charming interlude, the Monet family helps to carry canvases in a wheelbarrow). Van Ryn’s style is complementary without being imitative—a tough balancing act that Efa doesn’t pull off.\u003c/p>\n\u003cp>\u003cem>This Is Monet\u003c/em> is part of an unusual series from British publisher Laurence King that combines biographical text, reproductions and modern illustrations. “I wanted to be able to show, in illustrations, the pop culture that existed around the artists,” series editor Catherine Ingram says. “Even … Old Masters paintings, they’ve got a vibrant visual culture they’re tapping on. That visual culture is missing from art history books. It’s time to get back to that, to get the illustrators involved.”\u003c/p>\n\u003cfigure id=\"attachment_13864884\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864884 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg\" alt=\"'7 Miles a Second' by David Wojnarowicz, James Romberger and Marguerite Van Cook.\" width=\"400\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85-160x216.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘7 Miles a Second’\u003cbr>by David Wojnarowicz, James Romberger and Marguerite Van Cook.\u003c/figcaption>\u003c/figure>\n\u003cp>Some corners of the art world have always embraced comics, of course. In 1988, David Wojnarowicz asked his friend and fellow East Village artist James Romberger to collaborate with him on \u003cem>Seven Miles a Second,\u003c/em> an adaptation of Wojnarowicz’ autobiographical writings. Romberger, whose depictions of downtown New York life can be found in many museums’ collections, had to finish the book alone after Wojnarowicz died of AIDS in 1992. But he was aided by Marguerite Van Cook, who’d shown Wojnarowicz in her gallery, gone on road trips with him and had long discussions with him about color theory. Van Cook gave the book its explosive palette. (The book was reissued by Fantagraphics in 2013 and is now being self-published by Romberger and Van Cook.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Marguerite kind of lets things rush outside the lines,” Romberger says. “The color is running, smushing together—it’s not so defined. In comics the lines are usually… meant to hold in the color. Marguerite does something where the color is actually erupting outside of the lines, breaking the boundaries. Which kind of suits David, who’s someone who was very much against boundaries.”\u003c/p>\n\u003cp>\u003cem>Seven Miles a Second\u003c/em> remains a landmark crossover between comic art and fine art. It was a similar desire to bridge the high-low divide that led Boston’s Isabella Stewart Gardner Museum to incorporate comics into its spring Botticelli exhibit. The museum hired Karl Stevens, known for such graphic novels as 2010’s \u003cem>The Lodger\u003c/em> and last year’s \u003cem>The Winner\u003c/em>, to create cartoons of the Roman myths behind Botticelli’s \u003cem>The Tragedy of Lucretia\u003c/em> and \u003cem>The Story of Virginia.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13864885\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg\" alt=\"The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli's paintings.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85-160x120.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli’s paintings. \u003ccite>(David Matthews/Courtesy of the Isabella Stewart Gardner Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I thought one of the ways we could make Botticelli appealing to an audience who were not familiar with him was to approach these narrative paintings through the lens of a graphic novel,” says Nathaniel Silver, the William and Lia Poorvu Curator of the Collection at the museum. Stevens puts it a bit differently: “Museums have gotten tighter with cash, and they need to find ways to bring in the rabble.” Stevens believes the mainstream art world will always look down its nose at comics to some degree. Comic art, he notes, has “always been seen as an offshoot of commercial art, which it was originally. It was designed for the mass market. It wasn’t designed for elitist rich people, which is [who] fine art has always been for.”\u003c/p>\n\u003cp>That may explain the fascinating energy that infuses so many graphic novels about art. Illustrating artists’ lives through a lowbrow medium detaches them from their elevated creations and places them back on a human plane. Silver notes that while Stevens’ work on the Botticelli exhibit might seem humble, his position isn’t so different from what Botticelli’s was in his own time. Both then and now, Silver says, artists had to struggle to capture the attention of a broad, easily distractible audience.\u003c/p>\n\u003cp>“We tried to show how these stories were reinterpreted by Botticelli in his time to make them relevant to a contemporary audience in the Renaissance,” Silver says. “In the same way, they can be reinterpreted in our time, to make them relevant to a contemporary audience in 2019.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Comic+Art+Meets+High+Art%2C+the+Results+Will+Surprise+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kirsten Dunst is on Top of the Pyramid in 'On Becoming a God in Central Florida'",
"headTitle": "Kirsten Dunst is on Top of the Pyramid in ‘On Becoming a God in Central Florida’ | KQED",
"content": "\u003cp>Much of serialized television is made up of monster stories.\u003c/p>\n\u003cp>Sometimes it’s about a seemingly normal person being revealed as a monster, like on \u003cem>Breaking Bad\u003c/em>. Sometimes it’s a whole family of monsters in training, like on \u003cem>Succession\u003c/em>. In Showtime’s new series \u003cem>On Becoming A God In Central Florida\u003c/em>, the monster is a pyramid scheme called FAM.\u003c/p>\n\u003cp>FAM officially sells merchandise—toilet paper, cleaning products, cosmetics. But really, it sells signups. It sells the opportunity to sell the opportunity to sell, and like all pyramid schemes, it cannot possibly work as promised except for the lucky few who manage to be the exploiters and not the exploited.\u003c/p>\n\u003cp>Krystal Stubbs (Kirsten Dunst) is a struggling Florida mom working at a non-Disney water park in the early 1990s. Her husband Travis (Alexander Skarsgård) is trying to rise through the ranks of FAM. Travis was recruited by, and gets most of his support from, his helpful (?) “upline,” Cody (Théodore Pellerin). Cody, who appears at first glance to be a slick little worm, encourages Travis to quit his job and become a full-time FAM recruiter, all to Cody’s own benefit (not that he puts it this way to Travis). To say this plan doesn’t exactly work out for Travis would be an understatement, and when Travis winds up unable to deliver on the promise of riches and independence, it’s up to Krystal to step in, despite the fact that she’s pretty sure FAM is crooked at the core.\u003c/p>\n\u003cp>The highlight of the series is the performance from Dunst, who also shone as a very different schemer in the second season of \u003cem>Fargo\u003c/em> in 2015. Krystal is determined and resourceful without ever being, say, “plucky,” and Dunst plays much of the season carting a baby around through some very intense circumstances in a way that reminds the audience of the stakes for Krystal without looking like slapstick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the rest of the series is uneven. There are ten episodes in \u003cem>On Becoming A God\u003c/em>, and it would probably be stronger if there were six. The show is at its best when it stays with Krystal as she goes to war with a the wealthy crooks whose entire business plan is persuading poor people to take advantage of each other, promising good fortune that will never arrive. Krystal winds up entangling her kindhearted manager, Ernie (Mel Rodriguez), in FAM as well. The mess this creates for him and his wife Bets (musician Beth Ditto, who’s very good) helps to underscore the destructiveness of this company. So does the fact that Ernie’s most successful idea is to recruit those with even fewer prospects than he has: undocumented people who can’t work legally, but who are welcome to pay their money to sign up with FAM.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n41ZFrTQ53c\u003c/p>\n\u003cp>Eventually, Krystal comes to share the focus with Cody, who resembles one kind of jerk at the beginning and proves to be a different kind of jerk entirely—a weaker, more frightened, more desperate one. Pellerin is committed and funny, but the more Cody wanders around miserably from one manipulator to another, the less payoff there is. His character, limited as he is in intelligence and wit, can only go so far, and while he works wonderfully as an accessory to Krystal’s story, the parts of the show that turn him into a protagonist are much less successful.\u003c/p>\n\u003cp>But the biggest disappointment is that what begins as an incisive critique of a straight-up scam for money veers into a much broader, sillier critique of cults and woo-woo spirituality as Krystal explores more of FAM. The nickel-and-dime aspects of FAM selling cassette tapes and obsessing over your “downline” and your recruiting numbers feel fresh, but once you get to revival-style meetings and robes and birthing rituals, it feels a lot like a televangelist satire, more familiar and less cutting.\u003c/p>\n\u003cp>Going broader and broader in this case doesn’t feel like a natural progression; it honestly feels like an expansion of an idea that’s more like a movie in order to make it into a series. Krystal, Travis, the basics of FAM, the water park, Ernie, Bets—those elements feel like parts of the core idea. Hallucinations, visions, creepy assassins, mysterious rituals—that all feels tacked on.\u003c/p>\n\u003cp>\u003cem>On Becoming A God in Central Florida \u003c/em>has had a bumpy ride in which it was first being developed at AMC in 2017, then went to YouTube Premium before being picked up by Showtime. Whether the lumpiness of the season has anything to do with the somewhat arduous journey, we can’t know. But somewhere, the focus went fuzzy.\u003c/p>\n\u003cp>It’s too bad the show can’t quite stay at the level where it starts, because there’s a sharp point to be made here. All monsters feed on something, and FAM feeds on a combination of economic despair and the fetishization of wealth. The thesis of the best parts of this story is that being scammed is not a symptom of personal foolishness but of broad dysfunction that keeps ordinary people under constant threat of financial ruin while waving under their noses the idea that the goal is not security; it is extravagance without work. People don’t join FAM being promised only the traditionally defined “American dream” of home and family and cars and nice vacations. They join because they’re told they can be idle millionaires—even idle billionaires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It didn’t need so much cartoonish stuff around the edges; it just needed Krystal, facing down the fraudulent dream that took away her husband. That material, in Dunst’s hands, is very effective and engaging, and very funny. But like Krystal’s husband, it could have used a little more restraint.\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=Kirsten+Dunst+Is+On+Top+Of+The+Pyramid+In+%27On+Becoming+A+God+In+Central+Florida%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much of serialized television is made up of monster stories.\u003c/p>\n\u003cp>Sometimes it’s about a seemingly normal person being revealed as a monster, like on \u003cem>Breaking Bad\u003c/em>. Sometimes it’s a whole family of monsters in training, like on \u003cem>Succession\u003c/em>. In Showtime’s new series \u003cem>On Becoming A God In Central Florida\u003c/em>, the monster is a pyramid scheme called FAM.\u003c/p>\n\u003cp>FAM officially sells merchandise—toilet paper, cleaning products, cosmetics. But really, it sells signups. It sells the opportunity to sell the opportunity to sell, and like all pyramid schemes, it cannot possibly work as promised except for the lucky few who manage to be the exploiters and not the exploited.\u003c/p>\n\u003cp>Krystal Stubbs (Kirsten Dunst) is a struggling Florida mom working at a non-Disney water park in the early 1990s. Her husband Travis (Alexander Skarsgård) is trying to rise through the ranks of FAM. Travis was recruited by, and gets most of his support from, his helpful (?) “upline,” Cody (Théodore Pellerin). Cody, who appears at first glance to be a slick little worm, encourages Travis to quit his job and become a full-time FAM recruiter, all to Cody’s own benefit (not that he puts it this way to Travis). To say this plan doesn’t exactly work out for Travis would be an understatement, and when Travis winds up unable to deliver on the promise of riches and independence, it’s up to Krystal to step in, despite the fact that she’s pretty sure FAM is crooked at the core.\u003c/p>\n\u003cp>The highlight of the series is the performance from Dunst, who also shone as a very different schemer in the second season of \u003cem>Fargo\u003c/em> in 2015. Krystal is determined and resourceful without ever being, say, “plucky,” and Dunst plays much of the season carting a baby around through some very intense circumstances in a way that reminds the audience of the stakes for Krystal without looking like slapstick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, the rest of the series is uneven. There are ten episodes in \u003cem>On Becoming A God\u003c/em>, and it would probably be stronger if there were six. The show is at its best when it stays with Krystal as she goes to war with a the wealthy crooks whose entire business plan is persuading poor people to take advantage of each other, promising good fortune that will never arrive. Krystal winds up entangling her kindhearted manager, Ernie (Mel Rodriguez), in FAM as well. The mess this creates for him and his wife Bets (musician Beth Ditto, who’s very good) helps to underscore the destructiveness of this company. So does the fact that Ernie’s most successful idea is to recruit those with even fewer prospects than he has: undocumented people who can’t work legally, but who are welcome to pay their money to sign up with FAM.\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/n41ZFrTQ53c'\n title='//www.youtube.com/embed/n41ZFrTQ53c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eventually, Krystal comes to share the focus with Cody, who resembles one kind of jerk at the beginning and proves to be a different kind of jerk entirely—a weaker, more frightened, more desperate one. Pellerin is committed and funny, but the more Cody wanders around miserably from one manipulator to another, the less payoff there is. His character, limited as he is in intelligence and wit, can only go so far, and while he works wonderfully as an accessory to Krystal’s story, the parts of the show that turn him into a protagonist are much less successful.\u003c/p>\n\u003cp>But the biggest disappointment is that what begins as an incisive critique of a straight-up scam for money veers into a much broader, sillier critique of cults and woo-woo spirituality as Krystal explores more of FAM. The nickel-and-dime aspects of FAM selling cassette tapes and obsessing over your “downline” and your recruiting numbers feel fresh, but once you get to revival-style meetings and robes and birthing rituals, it feels a lot like a televangelist satire, more familiar and less cutting.\u003c/p>\n\u003cp>Going broader and broader in this case doesn’t feel like a natural progression; it honestly feels like an expansion of an idea that’s more like a movie in order to make it into a series. Krystal, Travis, the basics of FAM, the water park, Ernie, Bets—those elements feel like parts of the core idea. Hallucinations, visions, creepy assassins, mysterious rituals—that all feels tacked on.\u003c/p>\n\u003cp>\u003cem>On Becoming A God in Central Florida \u003c/em>has had a bumpy ride in which it was first being developed at AMC in 2017, then went to YouTube Premium before being picked up by Showtime. Whether the lumpiness of the season has anything to do with the somewhat arduous journey, we can’t know. But somewhere, the focus went fuzzy.\u003c/p>\n\u003cp>It’s too bad the show can’t quite stay at the level where it starts, because there’s a sharp point to be made here. All monsters feed on something, and FAM feeds on a combination of economic despair and the fetishization of wealth. The thesis of the best parts of this story is that being scammed is not a symptom of personal foolishness but of broad dysfunction that keeps ordinary people under constant threat of financial ruin while waving under their noses the idea that the goal is not security; it is extravagance without work. People don’t join FAM being promised only the traditionally defined “American dream” of home and family and cars and nice vacations. They join because they’re told they can be idle millionaires—even idle billionaires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It didn’t need so much cartoonish stuff around the edges; it just needed Krystal, facing down the fraudulent dream that took away her husband. That material, in Dunst’s hands, is very effective and engaging, and very funny. But like Krystal’s husband, it could have used a little more restraint.\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=Kirsten+Dunst+Is+On+Top+Of+The+Pyramid+In+%27On+Becoming+A+God+In+Central+Florida%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Latinos make up 18% of the U.S. population and 24% of its frequent moviegoers, yet they rarely see themselves on movie screens.\u003c/p>\n\u003cp>A new study by the USC Annenberg Inclusion Initiative finds that Latino representation in film lags significantly behind the U.S. population and that, over the last decade, the number of Latino characters in the most popular movies is virtually unchanged.\u003c/p>\n\u003cp>The report, released Monday and conducted in partnership with the National Association of Latino Independent Producers (NALIP) and Wise Entertainment, analyzed the 1,200 top-grossing films from 2007 to 2018 and some 47,268 speaking or named characters. It found that in that 12-year period, 4.5% of all speaking or named characters were Latino, and just 3% of leads or co-leads.\u003c/p>\n\u003cp>Over that time, the rate of representation has hovered between 3-6%, researchers found. In, 2018, there were Latino speaking characters in 5% of the most popular films — the same rate as in 2008.\u003c/p>\n\u003cp>[aside tag='latinx,latino,bilingual' label='More Stories For You']\u003c/p>\n\u003cp>Inclusion Initiative founder and director Stacy L. Smith, who co-authored the study, said that in all areas of film, Latino are “vastly underrepresented.”\u003c/p>\n\u003cp>“At a time where Latinos in our country are facing intense concerns over their safety, we urgently need to see the Latino community authentically and accurately represented throughout entertainment,” Smith said in a statement.\u003c/p>\n\u003cp>Researchers found that in the films studied, 4% had a Latino director, and most of those filmmakers — 71% — were from outside the U.S. Out of the 1,335 directors, only one was a Latina. Among producers, just 3% were Latino.\u003c/p>\n\u003cp>The study also found that Latinos, when they are on screen, frequently appear in stereotyped roles. In the most popular films at the U.S. box office, Latinos are depicted as criminals 24% of the time; 17% were portrayed as poor or with a low income.\u003c/p>\n\u003cp>“The Latino community has not been prioritized, and it is imperative that we shed light on the glaring reality of Latino representation in film,” said Benjamin Lopez, executive director of NALIP.\u003c/p>\n\u003cp>The results of the study, while hardly surprising, are particularly striking considering what avid moviegoers Latinos generally are. The MPAA has said that 24% of frequent moviegoers — those who go to the movies at least once a month — are Latino. No other ethnic demographic is more overrepresented among moviegoers.\u003c/p>\n\u003cp>The disparity is even more glaring considering that the movie business is centered in Los Angeles, where Latinos make up 49% of the population.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\u003c/p>\n\u003cp>https://youtu.be/qI7Jla3UgSE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\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>\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\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/qI7Jla3UgSE'\n title='//www.youtube.com/embed/qI7Jla3UgSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\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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"title": "'90s Kids, Rejoice: 'Invader Zim,' a Cult-Classic Nicktoon, Returns",
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"content": "\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TDnKp83IOPA\u003c/p>\n\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v92Ql8p8-EM\u003c/p>\n\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\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=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\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/TDnKp83IOPA'\n title='//www.youtube.com/embed/TDnKp83IOPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\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/v92Ql8p8-EM'\n title='//www.youtube.com/embed/v92Ql8p8-EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\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=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\u003c/p>\n\u003cp>https://youtu.be/ellK-CXh7B4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\n\u003cp>https://twitter.com/kellyclarkson/status/1150168164853882880\u003c/p>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\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/ellK-CXh7B4'\n title='//www.youtube.com/embed/ellK-CXh7B4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What would you get if you combined Jackie Onassis’ poise, Jane Fonda’s comic timing and Audrey Hepburn’s love of wildlife? \u003c/p>\n\u003cp>It’s not a question anyone was asking, but now—thanks, internet!—we know the answer. \u003c/p>\n\u003cp>Georgette Spelvin remains a mystery, since she operates under \u003ca href=\"https://en.wikipedia.org/wiki/George_Spelvin\" target=\"_blank\" rel=\"noopener noreferrer\">a pseudonym\u003c/a>. What we \u003cem>do\u003c/em> know is that this Southern California resident has a multitude of opossums, a handful of squirrels and a killer sense of humor.\u003c/p>\n\u003cp>https://twitter.com/mallafemmina/status/1161126810194763776?s=21&fbclid=IwAR2lEkQMQS3dOL0Zx9G6E1w_A-GA90drWWBnyGQkcGtOCy3S0LoslHC94G0\u003c/p>\n\u003cp>Georgette’s \u003ca href=\"https://www.youtube.com/channel/UCATJh3BJNXTRX4EdxK2oDKw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> has shared these kinds of surreal moments of excellence on a regular basis since 2010. Her inherent watchability is rooted in the hilarious juxtaposition of her glamorous appearance and blue blooded demeanor with the rat-tailed fang-faces most commonly located in people’s trash. Georgette knows how to play up that weird combination with aplomb, thanks in part to her very relaxed means of handling the animals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0nDB_5dxzDM\u003c/p>\n\u003cp>Compounding confusion about her true identity, Georgette’s \u003ca href=\"https://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">associated website\u003c/a> is even more bonkers than her YouTube channel, thanks to the fact that it’s purportedly written by Pearl, one of Georgette’s dead squirrels, who offers psychic advice to members of the public. (“I AM A DEAD SQUIRREL THAT KNOWS EVERYTHING,” screams the \u003ca href=\"http://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">homepage\u003c/a>.) Pearl can also be seen regularly, presented as a sort of religious deity, in the background of Georgette’s videos.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umfxbSJ1Stw\u003c/p>\n\u003cp>On the\u003ca href=\"https://mepearl.com/ask-pearl/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Ask Pearl”\u003c/a> page of Georgette’s site, Pearl fields questions about readers’ biggest issues. On whether or not to leave a cheating lover, Pearl says: “You already know.” When a reader asks if she’s met her soul-mate, Pearl offers: “This one will be your truest love so long as you stop looking for anyone truer.” And when it comes to issues around proper gaming etiquette, Pearl explains: “Did you prance around the room going nanner nanner nanner? That’s usually where those Prussian Incursion games go south.” Occasionally though, readers also try and find out who Georgette really is… to no avail.\u003c/p>\n\u003cfigure id=\"attachment_13864547\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png\" alt='\"Who the hell is Georgette Spelvin?\" ' width=\"638\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM-160x104.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">“Who the hell is Georgette Spelvin?” \u003ccite>(http://mepearl.com/ask-pearl/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, we only know what Georgette Spelvin wants us to know: that she is a very funny lady with a big heart when it comes to injured and in-need wildlife. The lesson she most often imparts in her videos is that “if you see an opossum or squirrel outside, leave it there,” and if you see one that’s injured or in danger, contact your nearest wildlife rescue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never get Georgette’s full life story. But as long as she has a bongo-playing possum by her side and a scurry of squirrels on her shoulder, what more do we \u003cem>really\u003c/em> need to know?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What would you get if you combined Jackie Onassis’ poise, Jane Fonda’s comic timing and Audrey Hepburn’s love of wildlife? \u003c/p>\n\u003cp>It’s not a question anyone was asking, but now—thanks, internet!—we know the answer. \u003c/p>\n\u003cp>Georgette Spelvin remains a mystery, since she operates under \u003ca href=\"https://en.wikipedia.org/wiki/George_Spelvin\" target=\"_blank\" rel=\"noopener noreferrer\">a pseudonym\u003c/a>. What we \u003cem>do\u003c/em> know is that this Southern California resident has a multitude of opossums, a handful of squirrels and a killer sense of humor.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Georgette’s \u003ca href=\"https://www.youtube.com/channel/UCATJh3BJNXTRX4EdxK2oDKw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> has shared these kinds of surreal moments of excellence on a regular basis since 2010. Her inherent watchability is rooted in the hilarious juxtaposition of her glamorous appearance and blue blooded demeanor with the rat-tailed fang-faces most commonly located in people’s trash. Georgette knows how to play up that weird combination with aplomb, thanks in part to her very relaxed means of handling the animals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/0nDB_5dxzDM'\n title='//www.youtube.com/embed/0nDB_5dxzDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Compounding confusion about her true identity, Georgette’s \u003ca href=\"https://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">associated website\u003c/a> is even more bonkers than her YouTube channel, thanks to the fact that it’s purportedly written by Pearl, one of Georgette’s dead squirrels, who offers psychic advice to members of the public. (“I AM A DEAD SQUIRREL THAT KNOWS EVERYTHING,” screams the \u003ca href=\"http://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">homepage\u003c/a>.) Pearl can also be seen regularly, presented as a sort of religious deity, in the background of Georgette’s videos.\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/umfxbSJ1Stw'\n title='//www.youtube.com/embed/umfxbSJ1Stw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the\u003ca href=\"https://mepearl.com/ask-pearl/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Ask Pearl”\u003c/a> page of Georgette’s site, Pearl fields questions about readers’ biggest issues. On whether or not to leave a cheating lover, Pearl says: “You already know.” When a reader asks if she’s met her soul-mate, Pearl offers: “This one will be your truest love so long as you stop looking for anyone truer.” And when it comes to issues around proper gaming etiquette, Pearl explains: “Did you prance around the room going nanner nanner nanner? That’s usually where those Prussian Incursion games go south.” Occasionally though, readers also try and find out who Georgette really is… to no avail.\u003c/p>\n\u003cfigure id=\"attachment_13864547\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png\" alt='\"Who the hell is Georgette Spelvin?\" ' width=\"638\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM-160x104.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">“Who the hell is Georgette Spelvin?” \u003ccite>(http://mepearl.com/ask-pearl/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, we only know what Georgette Spelvin wants us to know: that she is a very funny lady with a big heart when it comes to injured and in-need wildlife. The lesson she most often imparts in her videos is that “if you see an opossum or squirrel outside, leave it there,” and if you see one that’s injured or in danger, contact your nearest wildlife rescue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never get Georgette’s full life story. But as long as she has a bongo-playing possum by her side and a scurry of squirrels on her shoulder, what more do we \u003cem>really\u003c/em> need to know?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few months ago, I watched a chilling film, \u003ca href=\"https://www.youtube.com/watch?v=jmnuC7tn9D4\" target=\"_blank\" rel=\"noopener\">\u003cem>My Friend Dahmer\u003c/em>\u003c/a>, based on a graphic memoir written by a high school friend(ish) of infamous serial killer Jeffrey Dahmer.\u003c/p>\n\u003cp>While IMDB’s logline for the film reads, “A young Jeffrey Dahmer struggles to belong in high school,” I saw it more as an attempt to contextualize Dahmer. It showed his chaotic family life, the masculinity he was expected to perform yet couldn’t, his social ineptness, and the disturbing ways his instincts were and weren’t validated.\u003c/p>\n\u003cp>The film seemed to be asking the unanswerable question: What if? What if he had been able to come out to his family? What if someone had noticed his inability to connect with people and had tried to reach him? What if he was steered toward nurturing his anatomical interests? Could he have been a pathologist? A medical examiner?\u003c/p>\n\u003cp>The other unanswerable question—the one that might be going through many readers’ minds—is: Who cares?! He deliberately preyed on a vulnerable population, mostly young gay men of color. He killed a bunch of people!\u003c/p>\n\u003cp>I was so disturbed by my empathy for him—for how he was portrayed in the film, anyway—that I brought it up to my therapist. Her take? That I might be drawn to his overt cruelty, his capacity for violence, because I am incapable of it myself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a new, necessary and brilliant book, \u003cem>Savage Appetites: Four True Stories of Women, Crime, and Obsession,\u003c/em> journalist Rachel Monroe writes: “Most of the explanations I read for why women are drawn to true crime ended up feeling reductive and unsatisfying.” The explanations she had seen were that the interest was voyeuristic or feminist or self-preserving and practical. “By presuming that women’s dark thoughts were merely pragmatic, those thoughts were drained of their menace,” she adds. “A different, more alarming hypothesis was the one I tended to prefer: perhaps we liked creepy stories because something creepy was in us.”\u003c/p>\n\u003cp>The stories that are well-known, that get rehashed over and over again, are largely about white male perpetrators and white, middle-class, female victims, even though, as Monroe reminds us, “the people who are disproportionately at risk of homicide” are actually “sex workers, the homeless, young men of color, trans women” and, in fact, “the people who [are] most likely to be harmed by violent crime [are] young black men from low-income neighborhoods.”\u003c/p>\n\u003cp>So why do we find true crime fascinating? How are we relating to it? Who is telling what stories and why? Monroe doesn’t have one distinct answer for us—nor, I suspect, does she believe there is one—but she showcases several women, each with a different relationship to the genre. Frances Glessner Lee, considered by some the “mother of forensic science,” is the first; second is Alisa Statman who, whether in good faith or not, inserted herself into the lives and stories of Sharon Tate’s family; third is Lorri Davis, who ended up marrying and helping to free Damien Echols, who spent years on death row after what is widely believed to be his wrongful conviction for the murder of three small boys in West Memphis; and, finally, Lindsay Souvannarath, sentenced to life in prison in Canada after she and another young adult she had met online planned to vaguely emulate the Columbine shooters by wreaking havoc in a mall in Halifax (they never got that far).\u003c/p>\n\u003cp>Monroe treats each individual narrative with nuance, empathy and transparency, allowing both the protagonists and their supporting cast to remain complex. She delves into the social and political ramifications of each narrative, making accessible and visible what so often gets overlooked in these stories because it’s too complicated to put into a headline or summary.\u003c/p>\n\u003cp>Monroe’s book is a pleasure to read because it is smart, well-researched and well-written—beautifully, really, as each of the four long chapters takes the form of a braided essay that links two and sometimes three distinct stories together, showcasing Monroe’s own obsessions alongside those of the real-life characters she explores.\u003c/p>\n\u003cp>But more than that, \u003cem>Savage Appetites \u003c/em>is important because it refuses to sit inside binaries of good vs. evil, victim vs. perpetrator, innocent victim vs. mastermind criminal. It doesn’t give us easy answers for why women are the main consumers of true crime narratives, because there aren’t any because women as a category are not monolith and because it’s complicated and nuanced and different for everyone. The book is important also because I suspect there are more than a few of us who, like Monroe herself, feel conflicted about their desire to consume stories of murder and mayhem and wonder what it reflects about the world around us and ourselves.\u003c/p>\n\u003cp>While Monroe has the role of journalist here, probing the history, motives and psyches of her subjects, she also interrogates herself by weaving her stories into those of others. So it’s not without doing the work herself that she urges us not to turn off our brains in the pursuit of true crime’s anesthetizing effect: “We can use [sensational crime stories] as opportunities to be more honest about our appetites—and curious about them too.”\u003c/p>\n\u003cp>Looking away from a problem doesn’t make it go away, her narratives show us, and looking at the problem directly doesn’t mean easily or quickly solving it. But looking and looking and continuing to look until the layers begin to peel back and reveal the issues at the core of such stories—the systemic inequalities, the co-option of certain stories for political gain, the rhetoric used to make some victims more real than others—that’s the important work that we, and true crime, can do.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\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=Why+Do+We+Find+True+Crime+Fascinating%3F+%27Savage+Appetites%27+Looks+For+An+Answer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few months ago, I watched a chilling film, \u003ca href=\"https://www.youtube.com/watch?v=jmnuC7tn9D4\" target=\"_blank\" rel=\"noopener\">\u003cem>My Friend Dahmer\u003c/em>\u003c/a>, based on a graphic memoir written by a high school friend(ish) of infamous serial killer Jeffrey Dahmer.\u003c/p>\n\u003cp>While IMDB’s logline for the film reads, “A young Jeffrey Dahmer struggles to belong in high school,” I saw it more as an attempt to contextualize Dahmer. It showed his chaotic family life, the masculinity he was expected to perform yet couldn’t, his social ineptness, and the disturbing ways his instincts were and weren’t validated.\u003c/p>\n\u003cp>The film seemed to be asking the unanswerable question: What if? What if he had been able to come out to his family? What if someone had noticed his inability to connect with people and had tried to reach him? What if he was steered toward nurturing his anatomical interests? Could he have been a pathologist? A medical examiner?\u003c/p>\n\u003cp>The other unanswerable question—the one that might be going through many readers’ minds—is: Who cares?! He deliberately preyed on a vulnerable population, mostly young gay men of color. He killed a bunch of people!\u003c/p>\n\u003cp>I was so disturbed by my empathy for him—for how he was portrayed in the film, anyway—that I brought it up to my therapist. Her take? That I might be drawn to his overt cruelty, his capacity for violence, because I am incapable of it myself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a new, necessary and brilliant book, \u003cem>Savage Appetites: Four True Stories of Women, Crime, and Obsession,\u003c/em> journalist Rachel Monroe writes: “Most of the explanations I read for why women are drawn to true crime ended up feeling reductive and unsatisfying.” The explanations she had seen were that the interest was voyeuristic or feminist or self-preserving and practical. “By presuming that women’s dark thoughts were merely pragmatic, those thoughts were drained of their menace,” she adds. “A different, more alarming hypothesis was the one I tended to prefer: perhaps we liked creepy stories because something creepy was in us.”\u003c/p>\n\u003cp>The stories that are well-known, that get rehashed over and over again, are largely about white male perpetrators and white, middle-class, female victims, even though, as Monroe reminds us, “the people who are disproportionately at risk of homicide” are actually “sex workers, the homeless, young men of color, trans women” and, in fact, “the people who [are] most likely to be harmed by violent crime [are] young black men from low-income neighborhoods.”\u003c/p>\n\u003cp>So why do we find true crime fascinating? 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She delves into the social and political ramifications of each narrative, making accessible and visible what so often gets overlooked in these stories because it’s too complicated to put into a headline or summary.\u003c/p>\n\u003cp>Monroe’s book is a pleasure to read because it is smart, well-researched and well-written—beautifully, really, as each of the four long chapters takes the form of a braided essay that links two and sometimes three distinct stories together, showcasing Monroe’s own obsessions alongside those of the real-life characters she explores.\u003c/p>\n\u003cp>But more than that, \u003cem>Savage Appetites \u003c/em>is important because it refuses to sit inside binaries of good vs. evil, victim vs. perpetrator, innocent victim vs. mastermind criminal. It doesn’t give us easy answers for why women are the main consumers of true crime narratives, because there aren’t any because women as a category are not monolith and because it’s complicated and nuanced and different for everyone. The book is important also because I suspect there are more than a few of us who, like Monroe herself, feel conflicted about their desire to consume stories of murder and mayhem and wonder what it reflects about the world around us and ourselves.\u003c/p>\n\u003cp>While Monroe has the role of journalist here, probing the history, motives and psyches of her subjects, she also interrogates herself by weaving her stories into those of others. So it’s not without doing the work herself that she urges us not to turn off our brains in the pursuit of true crime’s anesthetizing effect: “We can use [sensational crime stories] as opportunities to be more honest about our appetites—and curious about them too.”\u003c/p>\n\u003cp>Looking away from a problem doesn’t make it go away, her narratives show us, and looking at the problem directly doesn’t mean easily or quickly solving it. But looking and looking and continuing to look until the layers begin to peel back and reveal the issues at the core of such stories—the systemic inequalities, the co-option of certain stories for political gain, the rhetoric used to make some victims more real than others—that’s the important work that we, and true crime, can do.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. 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"content": "\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqJRIQO7sqw\u003c/p>\n\u003cp>It’s entirely fair to wonder whether the purpose of this show is to make fun of religious people as such, particularly given that most kinds of television have not excelled at incorporating faith into the lives of characters. But \u003cem>Gemstones \u003c/em>almost never touches or satirizes the flock. The ordinary people who attend these churches, the people who believe in Eli, are not targets, despite the fact that they are being exploited by him and his family. We stay mostly backstage, mostly away from the congregation, mostly enmeshed in a fairly pure sendup of a particular—and, it must be said, familiar—type of fancy, flashy, TV-friendly preacher.\u003c/p>\n\u003cp>At the same time, the fact that the flock isn’t really part of the conversation means that what’s being taught in the church isn’t really part of the conversation either. There’s no mention of what Eli is teaching his followers, or how those lessons affect them, or what alliances he has with anyone outside the church. If you’re looking for a satire that places large, rich churches in the context of current politics or current social problems, this is not it. From a thematic perspective, this show could have been written about televangelists in the 1980s, for instance. It’s focused on the weirdos in this family, not what the faith that happens to be their grift of choice has to do with anybody else.\u003c/p>\n\u003cp>With that tight focus on these characters comes a need to differentiate them from similar characters we’ve seen before. That’s the show’s most significant flaw. In comedy terms, it’s fine for everyone to be unsympathetic, but it’s more of a problem that they’re unsympathetic in such expected ways. John Goodman is an actor who can do a lot with a little, but this performance seems like a routine version of what you’d expect “greedy televangelist” to look like. Even the introduction of the reliable Walton Goggins can’t enliven the proceedings very much, because once you see his wig and his makeup and you hear his accent, the character from there is largely the broad caricature of a flashy buffoon that you’d expect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Righteous Gemstones \u003c/em>ends up feeling like a pretty standard HBO comedy, in the same way there came to be a standard CBS sitcom style and a standard ABC soapy drama style. It has its moments, and it’s likely to please those who follow McBride from show to show. But if you’re likely to take an “if you’ve seen one, you’ve seen them all” attitude toward scenes where guys take their pants off, this may not be the show for you.\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=%27The+Righteous+Gemstones%27+Takes+Aim+At+Megachurch+Millionaires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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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",
"subscribe": {
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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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},
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