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This season alone has covered mental health, race relations, addiction, divorce and forgiveness.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/redtabletalk/videos/564337010632445/\">http://www.facebook.com/redtabletalk/videos/564337010632445/\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I guess at this point in my life, I’ve really been doing a lot of interior work,” Pinkett-Smith says in an interview. “And I just realized that in part of my growth, the women and the people who had the courage to be very transparent with me with certain aspects of their journey really, really helped my journey tremendously. I was like: Why don’t we talk about this more often? Why is it such a secret of what people go through?\u003c/p>\n\u003cp>“And so I was like: I really want to create conversation where people don’t have to feel like they’re alone. And whatever pieces individuals can take with them to make whatever changes they might feel is necessary for more happiness, more joy, more peace — I want to be part of that journey.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/688338768/688548989\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the open discussions of the show compared to her reputation as a private person\u003c/strong>\u003c/p>\n\u003cp>People have a lot of romantic and fantasy ideas around relationships. And considering the powerful journey that [husband Will Smith] and I have been taking together, I really thought it was important to shatter, you know, whatever façade had been out there. 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But I don’t see the necessity to hold on to knowledge of certain experiences that we’ve had.\u003c/p>\n\u003cp>\u003cstrong>On the disagreements in the episode titled \u003c/strong>\u003ca href=\"https://www.facebook.com/redtabletalk/videos/the-racial-divide-women-of-color-white-women/343064719835818/\">\u003cstrong>“The Racial Divide: Women of Color & White Women”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Considering the era in which [my mother] grew up, as well, that she had to experience very different things than what Willow and I have had to experience … The idea that even though Willow hasn’t had the same experiences as my mother, that some of her views were pretty similar.\u003c/p>\n\u003cp>They had this concept as if it was not our responsibility as women of color to educate white women — the idea being that they need to educate themselves. And that’s true too. 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"content": "\u003cp>From soft-rock smash to karaoke staple to Internet bait, the shelf life of Toto’s 1982 smash “Africa” has reached remarkable, unexpected lengths.\u003c/p>\n\u003cp>Perhaps it’s finally reached its logical conclusion with one multimedia artist’s new sound installation, which plays the 1982 smash on loop until the end of time deep in the, er, coastal Namib Desert.\u003c/p>\n\u003cp>[contextly_sidebar id=”U7xMMGpgRXDDg3zVQ2ZBic00IPzdcWhU”]\u003c/p>\n\u003cp>Namibian-German artist Max Siedentopf installed “Toto Forever” late last December while back home with his family in Namibia. Six speakers are placed atop individual plinths and attached to an MP3 player that contains only the song; the entire thing is powered by solar energy with the promise that it will run “for all eternity.”\u003c/p>\n\u003cp>He writes that he was inspired by the online resurgence of interest in the song, spurred on by benevolent \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">Twitter bots\u003c/a>, a Reddit page dedicated to the song, and unexpected covers from pop artists spanning from Pitbull to \u003ca href=\"https://www.npr.org/615204047\">the rascals in Weezer\u003c/a>. (The latter cover, with a just-as-silly video starring “Weird Al” Yankovic, was the band’s first single to top \u003cem>Billboard\u003c/em>‘s Alternative Songs chart in more than a decade.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was very intrigued by this and wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” Siedentopf writes to \u003cem>NPR\u003c/em>. “The Namibian desert — which is, with 55 million years, the oldest desert in the world — seemed to be the perfect spot for this.”\u003c/p>\n\u003cp>Intrepid fans might want to hunt down the shrine to Toto, and for those devout enough to embark on the journey, Siedentopf has enclosed a map detailing \u003ca href=\"http://maxsiedentopf.com/toto-forever\">the site of the installation\u003c/a>. But he cautions that fair-weather fans may not have much luck finding it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The installation is supposed to be a bit like a treasure that only the most loyal of Toto fans can find,” he cautions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Waiting+There+For+You%3A+Toto%27s+%27Africa%27+Is+Playing+On+Repeat+In+A+Desert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From soft-rock smash to karaoke staple to Internet bait, the shelf life of Toto’s 1982 smash “Africa” has reached remarkable, unexpected lengths.\u003c/p>\n\u003cp>Perhaps it’s finally reached its logical conclusion with one multimedia artist’s new sound installation, which plays the 1982 smash on loop until the end of time deep in the, er, coastal Namib Desert.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Namibian-German artist Max Siedentopf installed “Toto Forever” late last December while back home with his family in Namibia. Six speakers are placed atop individual plinths and attached to an MP3 player that contains only the song; the entire thing is powered by solar energy with the promise that it will run “for all eternity.”\u003c/p>\n\u003cp>He writes that he was inspired by the online resurgence of interest in the song, spurred on by benevolent \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">Twitter bots\u003c/a>, a Reddit page dedicated to the song, and unexpected covers from pop artists spanning from Pitbull to \u003ca href=\"https://www.npr.org/615204047\">the rascals in Weezer\u003c/a>. (The latter cover, with a just-as-silly video starring “Weird Al” Yankovic, was the band’s first single to top \u003cem>Billboard\u003c/em>‘s Alternative Songs chart in more than a decade.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&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/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has confirmed it’s releasing a new album sometime this year, produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>. Guitarist Carrie Brownstein tells NPR, “We always planned on getting back in the studio — it was just a matter of when. If there is an overarching principle to this album, it’s that the tools on which we were relying proved inadequate. So we sought new ones, both metaphorically and literally.” The as-yet-unnamed album follows 2015’s \u003cem>No Cities to Love\u003c/em>, which, at the time, was the band’s first new music after a nearly decade-long hiatus.\u003c/p>\n\u003cp>[contextly_sidebar id=”4p5810H7HxcMNKjHXgbVi18exc2SuoBx”]\u003c/p>\n\u003cp>Both St. Vincent and Sleater-Kinney initially announced the new project with posts on Facebook and Twitter that included a photo of the group in a studio. While there’s no word yet on what brought them together for the album, St. Vincent has covered Sleater-Kinney’s work and appeared on \u003cem>Portlandia.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Sleater-Kinney+Album%2C+Produced+By+St.+Vincent%2C+Confirmed+For+This+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\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/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has confirmed it’s releasing a new album sometime this year, produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>. Guitarist Carrie Brownstein tells NPR, “We always planned on getting back in the studio — it was just a matter of when. If there is an overarching principle to this album, it’s that the tools on which we were relying proved inadequate. So we sought new ones, both metaphorically and literally.” The as-yet-unnamed album follows 2015’s \u003cem>No Cities to Love\u003c/em>, which, at the time, was the band’s first new music after a nearly decade-long hiatus.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Both St. Vincent and Sleater-Kinney initially announced the new project with posts on Facebook and Twitter that included a photo of the group in a studio. While there’s no word yet on what brought them together for the album, St. Vincent has covered Sleater-Kinney’s work and appeared on \u003cem>Portlandia.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Sleater-Kinney+Album%2C+Produced+By+St.+Vincent%2C+Confirmed+For+This+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Making 'Surviving R. Kelly': A Conversation With Executive Producer Dream Hampton",
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"content": "\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Making 'Surviving R. Kelly': A Conversation With Executive Producer Dream Hampton | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans have been anxiously awaiting Jordan Peele’s next film since the runaway success of 2017’s satirical horror flick \u003cem>Get Out\u003c/em>, and they got their wish on Christmas Day, when the trailer for Peele’s next movie, \u003cem>Us\u003c/em>, premiered.\u003c/p>\n\u003cp>About a family whose vacation to the Santa Cruz Beach Boardwalk gets derailed by zombie-like doppelgangers, the\u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA&t=2s\" target=\"_blank\" rel=\"noopener\"> trailer\u003c/a> doesn’t reveal the twists Peele undoubtedly has in store. But the guiding motif is Luniz’ 1995 hit “\u003ca href=\"https://www.youtube.com/watch?v=ERtkpnXLrL4\" target=\"_blank\" rel=\"noopener\">I Got Five On It\u003c/a>” from the Oakland duo’s platinum album, \u003cem>Operation Stackola\u003c/em>. The stoner anthem gets an eerie remix, transforming into a high-stakes horror score with spine-tingling strings and thundering, atmospheric bass. [contextly_sidebar id=”WDbc6WgQo3VoKOMFfugoWagim8r5vVTq”]\u003c/p>\n\u003cp>“We hit ’em again,” wrote Luniz’ Numskull on \u003ca href=\"https://www.instagram.com/p/Br0VAkdgN9y/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> when the trailer came out. “You can’t stop a classic.”\u003c/p>\n\u003cp>Peele’s inventive soundtrack choice comes at the end of an unprecedented year for black Bay Area artists in Hollywood, with the success of Ryan Coogler’s \u003cem>Black Panther\u003c/em> and Boots Riley’s \u003cem>Sorry to Bother You\u003c/em>, both set in Oakland. (Peele is from New York, but his wife, comedian Chelsea Peretti, is from Oakland like Riley and Coogler.)\u003c/p>\n\u003cp>We’ll have to wait until \u003cem>Us\u003c/em> comes out in theaters on Mar. 15 to see how this foreboding flip of Luniz’ Town classic factors into Peele’s latest production.\u003c/p>\n\u003cp>https://youtu.be/hNCmb-4oXJA\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"content": "\u003cp>Pop culture is rife with forced-feeling proclamations of wokeness, which is why Cardi B’s work and online persona often feel like a breath of fresh air. Instead of dropping the latest feminist buzzwords, she has a habit of shattering sexist stereotypes simply by being herself.\u003c/p>\n\u003cp>The latest example is her “\u003ca href=\"https://www.youtube.com/watch?v=zUOh09GoQgk\" target=\"_blank\" rel=\"noopener\">Money\u003c/a>” music video, which dropped Friday. The slightly NSFW video begins with Cardi looking poised and regal in mid-century, cabaret-inspired costuming that echoes Beyoncé’s looks in her self-titled visual album (especially “Haunted” and “Partition”). The scene quickly cuts to a series of epic costume changes and gothic interiors—including a strip club, where we see Cardi and other impressively athletic dancers in action on the pole, which was Cardi’s way of earning a living before her rise in the music industry. [contextly_sidebar id=”VJTtJrIeqsqrXqoXPcaTvPJs6Q4XwlYJ”]\u003c/p>\n\u003cp>Juxtaposed with shots of Cardi breastfeeding her infant daughter, Kulture, the strip club scenes in the “Money” video show Cardi taking ownership of her past and present, asserting that women can be both mothers and sexual, that breastfeeding in public is perfectly natural and that sex work \u003cem>is\u003c/em> work. As I \u003ca href=\"https://twitter.com/nananastia/status/1076193144520171521\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> upon seeing the “Money” video, Cardi reminds us that we truly shine when we can walk confidently as ourselves and own our experiences, despite the labels society may ascribe to them. [contextly_sidebar id=”orlYIwOI5Ktyc1W1CQQBtW4pgXZlMYkd”]\u003c/p>\n\u003cp>After dealing with a grueling two-weeks of post-\u003ca href=\"https://www.elle.com/culture/celebrities/a25409116/cardi-b-offset-divorce-announcement/\" target=\"_blank\" rel=\"noopener\">divorce announcement\u003c/a> touring—during which cheating, estranged husband Offset \u003ca href=\"https://www.washingtonpost.com/nation/2018/12/17/cardi-bs-ex-offset-crashed-her-concert-apologize-her-fans-say-it-was-toxic-harassment/?noredirect=on&utm_term=.a56262b294ae\" target=\"_blank\" rel=\"noopener\">crashed her Rolling Loud set\u003c/a> begging her to take him back—Cardi B just proved once again that she always lands on her feet.\u003c/p>\n\u003cp>https://youtu.be/zUOh09GoQgk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>[contextly_sidebar id=”xhFw1hWbN6SJGMUW5E0yJQYd1TVToFAy”]\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>[contextly_sidebar id=”D3dkZcvZ9fVL9a3KKZGoY8RKdppLFLie”]\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnIMDykalEpo8j5cIjzPAtxkrHoMuFN2″]\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>[contextly_sidebar id=”JI6rj7b5P2DiBUbFkiSeHPNF4hRkCOwc”]\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>[contextly_sidebar id=”jmB4R69bsZU2dRuxioDgmnJEIr0JyBlT”]\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fact that it’s undersea and isolated from our world helps the characters maintain their own culture,” Hillenburg told The Associated Press in 2001. “The essence of the show is that SpongeBob is an innocent in a world of jaded characters. The rest is absurd packaging.”\u003c/p>\n\u003cp>Born at his father’s army post in Lawton, Oklahoma, Hillenburg graduated from Humboldt State University in California in 1984 with a degree in natural resource planning with an emphasis on marine resources, and went on to teach marine biology at the Orange County Marine Institute.\u003c/p>\n\u003cp>He shifted to drawing and earned a master of fine arts degree in animation from the California Institute of the Arts in 1992.\u003c/p>\n\u003cp>That same year he created an animated short called “Wormholes” that won festival plaudits and helped land him a job on the Nickelodeon show “Rocko’s Modern Life,” where he worked from 1993 to 1996 before he began to build SpongeBob’s undersea world of Bikini Bottom, which showed off his knowledge of marine life and willingness to throw all the details out the window.\u003c/p>\n\u003cp>“We know that fish don’t walk,” he told the AP, “and that there is no organized community with roads, where cars are really boats. And if you know much about sponges, you know that living sponges aren’t square.”\u003c/p>\n\u003cp>The show was an immediate hit that has lost no momentum in the nearly 20 years since its creation. Its nearly 250 episodes have won four Emmys and 15 Kids Choice Awards, and led to an endless line of merchandise to rival any other pop cultural phenomenon of the 2000s.\u003c/p>\n\u003cp>In 2004, the show shifted to the big screen with “The SpongeBob SquarePants Movie” and a 2015 sequel, “The SpongeBob Movie: Sponge Out of Water.”\u003c/p>\n\u003cp>A musical stage adaptation bowed on Broadway in 2017, with music from such stars as Steven Tyler, Sara Bareilles and John Legend. It earned 12 Tony Award nominations, including one for best performance by a leading actor for Ethan Slater.\u003c/p>\n\u003cp>“I am heartbroken to hear of the passing of Stephen Hillenburg,” Slater said in an email Tuesday. “Through working on ‘SpongeBob,’ I got to know him not only as a creative genius, but as a truly generous and kind person. He warmly embraced us on Broadway as the newest members of his wonderful ‘SpongeBob’ family, and made it so clear from the get-go why he is so beloved: genuine kindness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillenburg is survived by his wife of 20 years Karen Hillenburg, son Clay, mother Nancy Hillenburg, and a brother, Brian Kelly Hillenburg.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stan Lee, the creative dynamo who revolutionized the comic book and helped make billions for Hollywood by introducing human frailties in superheroes such as Spider-Man, the Fantastic Four and the Incredible Hulk, died Monday. He was 95.\u003c/p>\n\u003cp>Lee was declared dead at Cedars-Sinai Medical Center in Los Angeles, according to Kirk Schenck, an attorney for Lee’s daughter, J.C. Lee.\u003c/p>\n\u003cp>As the top writer at Marvel Comics and later as its publisher, Lee was widely considered the architect of the contemporary comic book. He revived the industry in the 1960s by offering the costumes and action craved by younger readers while insisting on sophisticated plots, college-level dialogue, satire, science fiction, even philosophy.\u003c/p>\n\u003cp>Millions responded to the unlikely mix of realistic fantasy, and many of his characters, including Spider-Man, the Hulk and X-Men went on to become stars of blockbuster films. Recent projects he helped make possible range from the films \u003cem>Black Panther\u003c/em> and \u003cem>Doctor Strange\u003c/em> to such TV series as \u003cem>Agents of S.H.I.E.L.D\u003c/em> and \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>“I think everybody loves things that are bigger than life. … I think of them as fairy tales for grown-ups,” he told The Associated Press in a 2006 interview. “We all grew up with giants and ogres and witches. Well, you get a little bit older and you’re too old to read fairy tales. But I don’t think you ever outgrow your love for those kind of things, things that are bigger than life and magical and very imaginative.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee considered the comic-book medium an art form and he was prolific: By some accounts, he came up with a new comic book every day for 10 years.\u003c/p>\n\u003cp>“I wrote so many I don’t even know. I wrote either hundreds or thousands of them,” he told the AP in 2006.\u003c/p>\n\u003cp>He hit his stride in the 1960s when he brought the Fantastic Four, the Hulk, Spider-Man, Iron Man and numerous others to life.\u003c/p>\n\u003cp>“It was like there was something in the air. I couldn’t do anything wrong,” he recalled.\u003c/p>\n\u003cp>His heroes, meanwhile, were a far cry from virtuous do-gooders such as rival DC Comics’ Superman.\u003c/p>\n\u003cp>The Fantastic Four fought with each other. Spider-Man was goaded into superhero work by his alter ego, Peter Parker, who suffered from unrequited crushes, money problems and dandruff. The Silver Surfer, an alien doomed to wander Earth’s atmosphere, waxed about the woeful nature of man. The Hulk was marked by self-loathing. Daredevil was blind and Iron Man had a weak heart.\u003c/p>\n\u003cp>“The beauty of Stan Lee’s characters is that they were characters first and superheroes next,” Jeff Kline, executive producer of the \u003cem>Men in Black\u003c/em> animated television series, told The Blade of Toledo, Ohio, in 1998.\u003c/p>\n\u003cp>Some of Lee’s creations became symbols of social change — the inner turmoil of Spider-Man represented ’60s America, for example, while The Black Panther and The Savage She-Hulk mirrored the travails of minorities and women.\u003c/p>\n\u003cp>Lee scripted most of Marvel’s superhero comics himself during the ’60s, including \u003cem>The Avengers\u003c/em> and the \u003cem>X-Men\u003c/em>, two of the most enduring. In 1972, he became Marvel’s publisher and editorial director; four years later, 72 million copies of \u003cem>Spider-Man\u003c/em> were sold.\u003c/p>\n\u003cp>“He’s become our Mickey Mouse,” he once said of the masked, web-crawling crusader.\u003c/p>\n\u003cp>Lee also published several books, including \u003cem>The Superhero Women\u003c/em> in 1977 and \u003cem>How to Draw Comics the Marvel Way\u003c/em> the following year, when he was named publisher of the year by the Periodical and Book Association of America.\u003c/p>\n\u003cp>CBS turned the Hulk into a successful TV series, with Bill Bixby and Lou Ferrigno portraying the doomed scientist from 1978-82. A Spider-Man series ran briefly in 1978. Both characters were featured in animated TV series as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first big-budget movie based on Lee’s characters, \u003cem>X-Men\u003c/em>, was a smash in 2000, earning more than $130 million at North American theaters. \u003cem>Spider-Man\u003c/em> did even better, taking in more than $400 million in 2002.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What if, instead of \u003ca href=\"https://www.kqed.org/news/11685634/in-oakland-more-data-hasnt-meant-less-racial-disparity-during-police-stops\" target=\"_blank\" rel=\"noopener\">arresting disproportionate numbers of people of color\u003c/a>, police handed out compliments and trophies?\u003c/p>\n\u003cp>Enter the Fashion Force, the brainchild of Oakland creative collective \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. The crew of party promoters, visual artists, writers, musicians and skateboarders recently wrapped up filming for the their forthcoming sketch comedy show, \u003cem>Variety Planet\u003c/em>. Today, Le Vanguard shared a hilarious teaser for their “Fashion Force” sketch from the series pilot, where Commander-in-Chic (played by executive producer and Le Vanguard leader Vanessa “Besame” Nguyen) and Sargeant Style (writer-director Xiomara Blanco) ambush random passersby with positive feedback on their outfits.\u003c/p>\n\u003cp>https://youtu.be/LJIxCxHD-UQ\u003c/p>\n\u003cp>Those complimented by the Fashion Force don’t necessarily look like runway models or fashion bloggers with a million Instagram followers. They’re regular people who simply took the time to add a personal element or creative twist to their look.\u003c/p>\n\u003cp>“We just want to say we like your outfit, we like what you’re doing with your life right now,” Blanco says to a guy in camouflage pants and matching hat with Warriors pins, before handing him an award. “Thank you for being alive, you’re doing a great job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I caught up with Blanco and Nguyen over the phone to get more info on the Fashion Force’s philosophy. “As two women of color, we’re all about about uplifting each other and redefining beauty standards,” Blanco told me. “That’s what I love about the Bay—people aren’t afraid to stand out, be a little weird, be a little bold.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nguyen and Blanco are currently shopping \u003cem>Variety Planet\u003c/em> to networks, and have a public screening in the works.\u003c/p>\n\n",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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 />",
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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.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "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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"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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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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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},
"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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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},
"link": "/radio/program/latino-usa",
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"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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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"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/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"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",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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