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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\n\u003cp>https://youtu.be/UbxUSsFXYo4\u003c/p>\n\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\n\u003cp>https://youtu.be/AqUKOV27tAM\u003c/p>\n\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\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/UbxUSsFXYo4'\n title='//www.youtube.com/embed/UbxUSsFXYo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\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/AqUKOV27tAM'\n title='//www.youtube.com/embed/AqUKOV27tAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dapper Dan, Telling Stories In Leather, Fur And Logos",
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"content": "\u003cp>It’s summer in Harlem. It’s blazing hot. But that hasn’t stopped Dapper Dan from holding court on the street in front of his atelier, greeting people as they pass by.\u003c/p>\n\u003cfigure id=\"attachment_13860988\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-800x1177.jpg\" alt='\"Dapper Dan Made in Harlem: A Memoir\" by Daniel R. Day' width=\"800\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-768x1130.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Dapper Dan Made in Harlem: A Memoir” by Daniel R. Day\u003c/figcaption>\u003c/figure>\n\u003cp>I met up with him to talk about his new memoir, \u003cem>Dapper Dan: Made in Harlem\u003c/em>, about his journey from hustler to respected taste-maker and businessman. Today he’s wearing a pastel green suit jacket over a couture vest and matching pants that he designed himself for the European fashion giant Gucci. “This is fine polka dot, Gucci loafers, semi-loafers they call them,” and yes — those are gold moths on the back.\u003c/p>\n\u003cp>Dan says these daily greetings are important to him. “The cheapest jacket I have inside is $2700. So the people in my community I know cannot afford that, so I make sure I stand outside and engage them every day.”\u003c/p>\n\u003cp>Now, Dan’s selling jackets for nearly three grand — but when he was a kid, here in Harlem, his family didn’t have that kind of money. He tells a story in his book about shopping for an Easter suit with his father: “We went to Ripley’s department store. I was gonna get my first suit. I think I was in eighth grade, seventh or eighth grade and we went to Ripley’s department store. I saw a charcoal brown suit with pinstripes. I loved it, and my father was going to give it to me, right? We were gonna get it on credit, cause we couldn’t pay cash. We didn’t have the money,” Dan remembers.\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.” —Dapper Dan [/pullquote]\u003c/p>\n\u003cp>“And so I said, ‘Daddy, let me see the contract.’ And I read the contract and figured out the mathematics. And I said, ‘Dad, you’re gonna end up paying two and a half times what this suit is worth.’ I said, ‘Don’t get it, Dad.’ And we came on out the store, and on the way down the steps my father stopped me, and he said he said ‘Boy, don’t you know you can read? Boy, you could read!’ You know? And I’m looking at my father’s face, you know and the intensity of his face, right? Then it all came back to me cause my father only went to the third grade and he had to teach himself to read. So everything I’ve encountered, I know that I could read my way out of it.”\u003c/p>\n\u003cp>He never did get that Easter suit. “I got a better suit,” he says. “I got something that suited me for life. So I’m glad. That’s one suit I’m glad I didn’t get.”\u003c/p>\n\u003cp>Dan is partners with Gucci now — the fashion giant struck a deal with him in 2017 — but when he was making clothes in the ’80s, he wasn’t asking permission to use the Gucci logo. Back then, after he’d been making and selling furs for a few years, he noticed a new trend: Designer bags, by brands like Gucci and Louis Vuitton, printed with the labels’ logos all over them. And he thought, I can do that. But bigger. “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.”\u003c/p>\n\u003cp>He bootlegged the logo prints and made bespoke suits and dresses, even custom upholstery for cars with the material. The actual clothing labels weren’t making anything like it. And so he became a favorite designer for rappers and hustlers, Harlem’s black and Latino clientele with money to spend — money the major fashion houses didn’t welcome.\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” —Dapper Dan [/pullquote]\u003c/p>\n\u003cp>Dapper Dan was the king of hip hop fashion before the labels shut him down in the ’90s. The photos on the walls of his atelier tell the story, and one, in particular, jumped out at me — it’s the rapper Rakim, and the legendary Gucci-patterned jacket Dapper Dan made him. “The black leather jacket, black leather plongé with gold colored Gucci G’s all over, and trimmed in metallic gold piping, with his name on the back, and his Five Percenter sign. That’s a historical jacket. That is probably the most important jacket in hip-hop.”\u003c/p>\n\u003cp>It’s also part of Dan’s transition from outfitting neighborhood gangsters to designing for hip-hop artists. “Back then, the rappers wanted to be like the gangsters, they wanted to dress like the gangsters,” he says. “Today, we have the opposite going on. The gangsters want to be like the rappers. And Eric B.& Rakim, those were the first ones that really, yo, gangsters really liked they style.”\u003c/p>\n\u003cp>When Dan wants to get into something new, like furs or custom tailoring, he studies — he goes around to manufacturers and learns everything he can. He calls it “sciencing,” and he does it over and over again. “Over and over again! And you know what? I find it exciting. Right now, my children think I’m crazy, ’cause I stay on the Internet. They have no clue how important this is to me. I can press a button and get information that I used to have to go into garbage and get. That wasn’t revealed to me.”\u003c/p>\n\u003cp>Dan says he had to get into clothing factories, “and find a way to get in there and talk to the owners, talk to the workers … In addition to that, I would go to the people who made these machines, and people who used these machines, to pretend I was gonna place an order with them, so I could see how they work. And the first thing I would do … I would shake their hand, look in their eyes and look behind them to see what they’re reading, or see what books are on their desk. I would look for information like that. And I would always try to find a person of color that worked there, if I couldn’t get the information, then afterwards I’d pay them to tell me something — and if that didn’t work, I’d go through their garbage.”\u003c/p>\n\u003cp>Dan doesn’t like the word “designer” — but he does like the word “creative.” “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” he says. “I wanna tell stories that tell people’s lives, like I make clothes that change people’s attitudes about how they feel about theyself. That’s it, that’s the core of who I am.”\u003c/p>\n\u003cp>\u003cem>Jolie Myers and Christina Cala produced this story for radio, and Petra Mayer adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dapper+Dan%2C+Telling+Stories+In+Leather%2C+Fur+And+Logos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s summer in Harlem. It’s blazing hot. But that hasn’t stopped Dapper Dan from holding court on the street in front of his atelier, greeting people as they pass by.\u003c/p>\n\u003cfigure id=\"attachment_13860988\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-800x1177.jpg\" alt='\"Dapper Dan Made in Harlem: A Memoir\" by Daniel R. Day' width=\"800\" height=\"1177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/dapperdan-cover-800-768x1130.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Dapper Dan Made in Harlem: A Memoir” by Daniel R. Day\u003c/figcaption>\u003c/figure>\n\u003cp>I met up with him to talk about his new memoir, \u003cem>Dapper Dan: Made in Harlem\u003c/em>, about his journey from hustler to respected taste-maker and businessman. Today he’s wearing a pastel green suit jacket over a couture vest and matching pants that he designed himself for the European fashion giant Gucci. “This is fine polka dot, Gucci loafers, semi-loafers they call them,” and yes — those are gold moths on the back.\u003c/p>\n\u003cp>Dan says these daily greetings are important to him. “The cheapest jacket I have inside is $2700. So the people in my community I know cannot afford that, so I make sure I stand outside and engage them every day.”\u003c/p>\n\u003cp>Now, Dan’s selling jackets for nearly three grand — but when he was a kid, here in Harlem, his family didn’t have that kind of money. He tells a story in his book about shopping for an Easter suit with his father: “We went to Ripley’s department store. I was gonna get my first suit. I think I was in eighth grade, seventh or eighth grade and we went to Ripley’s department store. I saw a charcoal brown suit with pinstripes. I loved it, and my father was going to give it to me, right? We were gonna get it on credit, cause we couldn’t pay cash. We didn’t have the money,” Dan remembers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And so I said, ‘Daddy, let me see the contract.’ And I read the contract and figured out the mathematics. And I said, ‘Dad, you’re gonna end up paying two and a half times what this suit is worth.’ I said, ‘Don’t get it, Dad.’ And we came on out the store, and on the way down the steps my father stopped me, and he said he said ‘Boy, don’t you know you can read? Boy, you could read!’ You know? And I’m looking at my father’s face, you know and the intensity of his face, right? Then it all came back to me cause my father only went to the third grade and he had to teach himself to read. So everything I’ve encountered, I know that I could read my way out of it.”\u003c/p>\n\u003cp>He never did get that Easter suit. “I got a better suit,” he says. “I got something that suited me for life. So I’m glad. That’s one suit I’m glad I didn’t get.”\u003c/p>\n\u003cp>Dan is partners with Gucci now — the fashion giant struck a deal with him in 2017 — but when he was making clothes in the ’80s, he wasn’t asking permission to use the Gucci logo. Back then, after he’d been making and selling furs for a few years, he noticed a new trend: Designer bags, by brands like Gucci and Louis Vuitton, printed with the labels’ logos all over them. And he thought, I can do that. But bigger. “When I started seeing designer bags, I said ‘Wow.’ Just imagine — if I can have them walking around looking like that bag, I could change the whole game.”\u003c/p>\n\u003cp>He bootlegged the logo prints and made bespoke suits and dresses, even custom upholstery for cars with the material. The actual clothing labels weren’t making anything like it. And so he became a favorite designer for rappers and hustlers, Harlem’s black and Latino clientele with money to spend — money the major fashion houses didn’t welcome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dapper Dan was the king of hip hop fashion before the labels shut him down in the ’90s. The photos on the walls of his atelier tell the story, and one, in particular, jumped out at me — it’s the rapper Rakim, and the legendary Gucci-patterned jacket Dapper Dan made him. “The black leather jacket, black leather plongé with gold colored Gucci G’s all over, and trimmed in metallic gold piping, with his name on the back, and his Five Percenter sign. That’s a historical jacket. That is probably the most important jacket in hip-hop.”\u003c/p>\n\u003cp>It’s also part of Dan’s transition from outfitting neighborhood gangsters to designing for hip-hop artists. “Back then, the rappers wanted to be like the gangsters, they wanted to dress like the gangsters,” he says. “Today, we have the opposite going on. The gangsters want to be like the rappers. And Eric B.& Rakim, those were the first ones that really, yo, gangsters really liked they style.”\u003c/p>\n\u003cp>When Dan wants to get into something new, like furs or custom tailoring, he studies — he goes around to manufacturers and learns everything he can. He calls it “sciencing,” and he does it over and over again. “Over and over again! And you know what? I find it exciting. Right now, my children think I’m crazy, ’cause I stay on the Internet. They have no clue how important this is to me. I can press a button and get information that I used to have to go into garbage and get. That wasn’t revealed to me.”\u003c/p>\n\u003cp>Dan says he had to get into clothing factories, “and find a way to get in there and talk to the owners, talk to the workers … In addition to that, I would go to the people who made these machines, and people who used these machines, to pretend I was gonna place an order with them, so I could see how they work. And the first thing I would do … I would shake their hand, look in their eyes and look behind them to see what they’re reading, or see what books are on their desk. I would look for information like that. And I would always try to find a person of color that worked there, if I couldn’t get the information, then afterwards I’d pay them to tell me something — and if that didn’t work, I’d go through their garbage.”\u003c/p>\n\u003cp>Dan doesn’t like the word “designer” — but he does like the word “creative.” “I consider myself one who creates clothes, and fashions clothes, and uses it as a vehicle to fashion young minds. That’s my goal.” he says. “I wanna tell stories that tell people’s lives, like I make clothes that change people’s attitudes about how they feel about theyself. That’s it, that’s the core of who I am.”\u003c/p>\n\u003cp>\u003cem>Jolie Myers and Christina Cala produced this story for radio, and Petra Mayer adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Dapper+Dan%2C+Telling+Stories+In+Leather%2C+Fur+And+Logos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The country-pop record company Big Machine Label Group, one of the most successful independent labels in the country — and the longtime label home of megastar Taylor Swift — has been sold. It was purchased by Ithaca Holdings, an umbrella company owned by Scooter Braun, the manager of Justin Bieber and Ariana Grande, among others. According to anonymous sources quoted by the \u003cem>Wall Street Journal\u003c/em>, the deal \u003ca href=\"https://www.wsj.com/articles/scooter-braun-makes-300-million-deal-for-big-machine-records-11561893008\">is valued\u003c/a> at more than $300 million.\u003c/p>\n\u003cp>Big Machine Label Group was founded by Nashville music industry veteran Scott Borchetta and signed Swift as a teenager in 2006, shortly after the label’s founding; it has released all of her albums to date. As Swift was Big Label’s most successful artist by a wide margin, her catalog would have been a prized asset within the company’s portfolio.\u003c/p>\n\u003cp>After announcing the sale — which had been rumored for years and had attracted interest from various companies, \u003ca href=\"https://www.billboard.com/articles/business/8482512/universal-only-major-label-left-buy-taylor-swift-big-machine-label\">including\u003c/a> from Snapchat co-founder and CEO Evan Spiegel — the shift in ownership prompted a heated back-and-forth between Swift, Borchetta and some in orbit around Scooter Braun, including\u003ca href=\"https://www.instagram.com/p/BzWfMAWAIkE/?utm_source=ig_embed\"> Braun’s wife\u003c/a> and\u003ca href=\"https://www.instagram.com/p/BzWYdS9Hj5R/\"> Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>In \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">a blog post\u003c/a> on Sunday, Swift claimed to have been unaware of the deal before its announcement, and called the sale of Big Machine to Ithaca “my worst-case scenario,” alluding to Braun’s past involvement in feuds between her and artists he manages, including Kanye West. In the post, Swift says that overtures she made to purchase control of her master recordings from Big Machine were met with a proposal by the company that she found unacceptable.\u003c/p>\n\u003cp>“For years,” she wrote, “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\u003cfigure id=\"attachment_13860574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg\" alt=\"Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13860574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York. \u003ccite>(Jemal Countess/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last fall, Swift\u003ca href=\"https://www.instagram.com/p/BqXgDJBlz7d/?utm_source=ig_embed\"> departed\u003c/a> Big Machine for the world’s largest record company, Universal Music Group, and its subsidiary label Republic Records. (At the time, Universal Music was also said to be considering a purchase of Big Machine.) A major part of that deal, and something long desired by Swift, was ownership of her master recordings. “Thankfully, I am now signed to a label that believes I should own anything I create,” Swift wrote on Sunday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(It’s uncommon for artists not of Swift’s stature to own their masters; instead, the label’s ownership of those materials is generally the centerpiece of any major-label contract. Relatedly, controversy erupted when the \u003cem>New York Times\u003c/em> recently\u003cem> \u003c/em>revealed that potentially hundreds of thousands of master recordings and other archival materials owned by Universal Music were destroyed in a 2008 fire; the company has been\u003ca href=\"https://www.npr.org/2019/06/22/734973029/artists-file-100-million-suit-against-universal-music-over-2008-fire\"> sued\u003c/a> for at least $100 million by a group of artists over failing to protect that property.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Big Machine president Scott Borchetta responded to Swift with\u003ca href=\"https://www.bigmachinelabelgroup.com/news/so-its-time-some-truth\"> his own\u003c/a> riposte, claiming he made Swift aware of the deal via text on Saturday, and that the terms of the deal Big Machine offered her were different from what she described on Sunday. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"http://737613627\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%27s+Former+Label+Big+Machine+Is+Sold%2C+Rankling+The+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The country-pop record company Big Machine Label Group, one of the most successful independent labels in the country — and the longtime label home of megastar Taylor Swift — has been sold. It was purchased by Ithaca Holdings, an umbrella company owned by Scooter Braun, the manager of Justin Bieber and Ariana Grande, among others. According to anonymous sources quoted by the \u003cem>Wall Street Journal\u003c/em>, the deal \u003ca href=\"https://www.wsj.com/articles/scooter-braun-makes-300-million-deal-for-big-machine-records-11561893008\">is valued\u003c/a> at more than $300 million.\u003c/p>\n\u003cp>Big Machine Label Group was founded by Nashville music industry veteran Scott Borchetta and signed Swift as a teenager in 2006, shortly after the label’s founding; it has released all of her albums to date. As Swift was Big Label’s most successful artist by a wide margin, her catalog would have been a prized asset within the company’s portfolio.\u003c/p>\n\u003cp>After announcing the sale — which had been rumored for years and had attracted interest from various companies, \u003ca href=\"https://www.billboard.com/articles/business/8482512/universal-only-major-label-left-buy-taylor-swift-big-machine-label\">including\u003c/a> from Snapchat co-founder and CEO Evan Spiegel — the shift in ownership prompted a heated back-and-forth between Swift, Borchetta and some in orbit around Scooter Braun, including\u003ca href=\"https://www.instagram.com/p/BzWfMAWAIkE/?utm_source=ig_embed\"> Braun’s wife\u003c/a> and\u003ca href=\"https://www.instagram.com/p/BzWYdS9Hj5R/\"> Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>In \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">a blog post\u003c/a> on Sunday, Swift claimed to have been unaware of the deal before its announcement, and called the sale of Big Machine to Ithaca “my worst-case scenario,” alluding to Braun’s past involvement in feuds between her and artists he manages, including Kanye West. In the post, Swift says that overtures she made to purchase control of her master recordings from Big Machine were met with a proposal by the company that she found unacceptable.\u003c/p>\n\u003cp>“For years,” she wrote, “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\u003cfigure id=\"attachment_13860574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg\" alt=\"Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13860574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York. \u003ccite>(Jemal Countess/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last fall, Swift\u003ca href=\"https://www.instagram.com/p/BqXgDJBlz7d/?utm_source=ig_embed\"> departed\u003c/a> Big Machine for the world’s largest record company, Universal Music Group, and its subsidiary label Republic Records. (At the time, Universal Music was also said to be considering a purchase of Big Machine.) A major part of that deal, and something long desired by Swift, was ownership of her master recordings. “Thankfully, I am now signed to a label that believes I should own anything I create,” Swift wrote on Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(It’s uncommon for artists not of Swift’s stature to own their masters; instead, the label’s ownership of those materials is generally the centerpiece of any major-label contract. Relatedly, controversy erupted when the \u003cem>New York Times\u003c/em> recently\u003cem> \u003c/em>revealed that potentially hundreds of thousands of master recordings and other archival materials owned by Universal Music were destroyed in a 2008 fire; the company has been\u003ca href=\"https://www.npr.org/2019/06/22/734973029/artists-file-100-million-suit-against-universal-music-over-2008-fire\"> sued\u003c/a> for at least $100 million by a group of artists over failing to protect that property.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Big Machine president Scott Borchetta responded to Swift with\u003ca href=\"https://www.bigmachinelabelgroup.com/news/so-its-time-some-truth\"> his own\u003c/a> riposte, claiming he made Swift aware of the deal via text on Saturday, and that the terms of the deal Big Machine offered her were different from what she described on Sunday. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"http://737613627\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%27s+Former+Label+Big+Machine+Is+Sold%2C+Rankling+The+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/16/723554077/meet-quinn-christopherson-winner-of-the-2019-tiny-desk-contest\">Quinn Christopherson\u003c/a> may be the winner of the 2019 Tiny Desk Contest, but this year’s 6,000-plus entries included many outstanding performances.\u003c/p>\n\u003cp>One of those standouts came from rapper Ruby Ibarra and her band The Balikbayans, a group of Filipino-American musicians based out of the San Francisco Bay Area. Ibarra — who was born in Tacloban City in the Philippines and immigrated to the United States with her family in the 1990s — calls the song she submitted, “Someday,” an ode to her mother.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Ibarra reflects on the song in a note that she sent to NPR:\u003c/p>\n\u003cp>\u003cem>It is my declaration that my mother and I will make it in this country. I think that when we talk about immigration, especially in mainstream media, much of that is often romanticized and simplified; the experience and struggles are overlooked and the formation of identity and sense of belonging are neglected. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When my mom moved to California from the Philippines in 1991, she went from being an accountant to a fast food janitor/cashier. She left everything behind in her motherland in hopes to provide better opportunities for me and my younger sister. She learned quickly how to be on survival mode and realized that the American Dream was far more complex than the mainstream narrative. The song “Someday” captures these themes and most importantly, captures my mother’s story, which is ultimately a similar story for many immigrants — trying to find a place to call home.\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ruby Ibarra & The Balikbayans - Someday [2019 NPR Tiny Desk]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SCd3iSfnWSw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ibarra describes her art as unfiltered, a quality that shines through in her band’s Tiny Desk submission. “I feel like when I am on that stage, or when I’m expressing myself through the lyrics that I rap, I feel like that’s me in my rawest form,” she says.\u003c/p>\n\u003cp>Ibarra’s verses on “Someday,” addressed to her mother, are a testament to this rawness. “Mama, I know it’s gon’ be fine wherever we go / ‘Cause we know, you raised this girl to dream and be a hero / What’s an ego to an eagle? I free-flow when I speak though / My pipe dreams through a peephole, my skin so Filipino,” she raps.\u003c/p>\n\u003cp>After earning an accounting degree \u003cem>cum laude \u003c/em>at her university in the Philippines, Ibarra’s mother decided to come to the United States.\u003c/p>\n\u003cp>“Especially during the ’80s and the ’90s, the economy wasn’t doing so well in the Philippines. And a lot of people really had this mentality that, ‘If I go to America, I’m gonna have better educated children or a better life,’ basically,” Ibarra says. “Upon moving here, I think that’s when my mom realized that it wasn’t all she expected it to be.”\u003c/p>\n\u003cp>But the rapper says that her mother always remained a model of resilience for Ibarra and her sister. “She was the matriarch and the patriarch in our household,” Ibarra says. “She was always my example of what it meant to be \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/05/24/478560399/filipino-americans-blending-cultures-redefining-race\">\u003cem>Pinay\u003c/em>\u003c/a>, a woman who pretty much did s*** on her own, carried everything on her own back.”\u003c/p>\n\u003cp>Ibarra expresses her profound admiration for her mother in the lyrics of “Someday.” When she raps, “Mama we goin’ make it here someday” it’s meant to be a promise.\u003c/p>\n\u003cp>“I want to reach a point someday where I can look at her in the face and say that we made it,” Ibarra says. “I think that sense of belonging, that sense of hope, is a thread that’s very common in a lot of immigrant stories.”\u003c/p>\n\u003cp>In addition to expressing her truest self through her music, Ibarra says that she hopes to pass inspiration on to others who want to do the same.\u003c/p>\n\u003cp>“I am what I talk about in my music. I am \u003cem>Pinay\u003c/em>, I’m powerful, I’m fearless, I’m unfiltered,” Ibarra says. “And I like to hope that there’s young women out there who feel the same way. Or even if they don’t feel the same way, I hope to inspire young women out there to want to use their voice, to claim who they are and to embrace their identity.”\u003c/p>\n\u003cp>\u003cem>Listen to the full aired story at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ibarra reflects on the song in a note that she sent to NPR:\u003c/p>\n\u003cp>\u003cem>It is my declaration that my mother and I will make it in this country. I think that when we talk about immigration, especially in mainstream media, much of that is often romanticized and simplified; the experience and struggles are overlooked and the formation of identity and sense of belonging are neglected. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When my mom moved to California from the Philippines in 1991, she went from being an accountant to a fast food janitor/cashier. She left everything behind in her motherland in hopes to provide better opportunities for me and my younger sister. She learned quickly how to be on survival mode and realized that the American Dream was far more complex than the mainstream narrative. The song “Someday” captures these themes and most importantly, captures my mother’s story, which is ultimately a similar story for many immigrants — trying to find a place to call home.\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ruby Ibarra & The Balikbayans - Someday [2019 NPR Tiny Desk]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SCd3iSfnWSw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ibarra describes her art as unfiltered, a quality that shines through in her band’s Tiny Desk submission. “I feel like when I am on that stage, or when I’m expressing myself through the lyrics that I rap, I feel like that’s me in my rawest form,” she says.\u003c/p>\n\u003cp>Ibarra’s verses on “Someday,” addressed to her mother, are a testament to this rawness. “Mama, I know it’s gon’ be fine wherever we go / ‘Cause we know, you raised this girl to dream and be a hero / What’s an ego to an eagle? I free-flow when I speak though / My pipe dreams through a peephole, my skin so Filipino,” she raps.\u003c/p>\n\u003cp>After earning an accounting degree \u003cem>cum laude \u003c/em>at her university in the Philippines, Ibarra’s mother decided to come to the United States.\u003c/p>\n\u003cp>“Especially during the ’80s and the ’90s, the economy wasn’t doing so well in the Philippines. And a lot of people really had this mentality that, ‘If I go to America, I’m gonna have better educated children or a better life,’ basically,” Ibarra says. “Upon moving here, I think that’s when my mom realized that it wasn’t all she expected it to be.”\u003c/p>\n\u003cp>But the rapper says that her mother always remained a model of resilience for Ibarra and her sister. “She was the matriarch and the patriarch in our household,” Ibarra says. “She was always my example of what it meant to be \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/05/24/478560399/filipino-americans-blending-cultures-redefining-race\">\u003cem>Pinay\u003c/em>\u003c/a>, a woman who pretty much did s*** on her own, carried everything on her own back.”\u003c/p>\n\u003cp>Ibarra expresses her profound admiration for her mother in the lyrics of “Someday.” When she raps, “Mama we goin’ make it here someday” it’s meant to be a promise.\u003c/p>\n\u003cp>“I want to reach a point someday where I can look at her in the face and say that we made it,” Ibarra says. “I think that sense of belonging, that sense of hope, is a thread that’s very common in a lot of immigrant stories.”\u003c/p>\n\u003cp>In addition to expressing her truest self through her music, Ibarra says that she hopes to pass inspiration on to others who want to do the same.\u003c/p>\n\u003cp>“I am what I talk about in my music. I am \u003cem>Pinay\u003c/em>, I’m powerful, I’m fearless, I’m unfiltered,” Ibarra says. “And I like to hope that there’s young women out there who feel the same way. Or even if they don’t feel the same way, I hope to inspire young women out there to want to use their voice, to claim who they are and to embrace their identity.”\u003c/p>\n\u003cp>\u003cem>Listen to the full aired story at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\u003c/p>\n\u003cp>https://youtu.be/1PrWA4C8eLw\u003c/p>\n\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\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/1PrWA4C8eLw'\n title='//www.youtube.com/embed/1PrWA4C8eLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community",
"headTitle": "Alone Together: Robyn’s ‘Dancing On My Own’ Opens The Corners Of Community | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>[aside postID='pop_109670' hero='https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/robyn-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\u003c/p>\n\u003cp>https://youtu.be/CcNo07Xp8aQ\u003c/p>\n\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. [/pullquote]\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>[aside postID='arts_13839666' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/08/ttt-robyn_custom-886e1f4c19aec3e192b3965d40d4351f0242ef32-1180x813.jpg' target='_blank']\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\u003c/p>\n\u003cp>https://youtu.be/q31tGyBJhRY\u003c/p>\n\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\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/CcNo07Xp8aQ'\n title='//www.youtube.com/embed/CcNo07Xp8aQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\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/q31tGyBJhRY'\n title='//www.youtube.com/embed/q31tGyBJhRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>[aside postID='arts_13844441' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/Nijla_BTL_Thumbnail-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>[aside postID='arts_13820054' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg' target='_blank']\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\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>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\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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"slug": "love-finds-ali-wong-and-randall-park-in-always-be-my-maybe",
"title": "Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'",
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"content": "\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"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",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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