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"content": "\u003cp>As a mixed live action/animated tour de force and a technical marvel, \u003ci>Who Framed Roger Rabbit\u003c/i> holds an entrenched spot in the pantheon of movie originality. But it’s the unflinchingly allegorical elements of Roger Zemeckis’ 1988 film that claim the most interest. Beneath the well-crafted jokes and cartoon high spirits, the film gnaws at the nostalgia felt for an Old Hollywood that so blithely manifested deep American racial disparities, and it does so while featuring cameos by the likes of Yosemite Sam and Tweety. It doesn’t get more subversive than that.\u003c/p>\n\u003cp>The story’s ingenious conceit is that human-created cartoons, including some of the most recognizable characters in the animated species, coexist with Homo sapiens — off-screen and three-dimensionally, that is. These “toons,” as they’re called, make up a kind of movie-industry underclass that is exploited for profit-making laughs. That’s a pretty audacious motif in a work ostensibly for children, and when you add the superimposition onto the crowded thematic canvas of a top-notch spoof on film noir, you’ve got a movie working overtime in the ideas department.\u003c/p>\n\u003cp>The film starts with a feint, immersing the viewer in a traditional-looking though unfamiliar cartoon, styled somewhere between Warner Bros’ \u003ci>Merrie Melodies\u003c/i> and MGM’s \u003ci>Tom and Jerry\u003c/i>. This one’s a vehicle for a character named Roger Rabbit; the plot: Roger trying to save his infant charge, Baby Herman, from all manner of household dangers, and, like all good animated masochists, taking the brunt of the fun. When, in the middle of the mayhem, a refrigerator falls on Roger and a circle of fish instead of the obligatory stars surround his head, we hear…\u003c/p>\n\u003cp>“Cut!” \u003c/p>\n\u003cp>That’s from the director, off-screen, and it’s followed by a pullback reveal of what we’ve actually been watching: the action on a Hollywood movie set, circa 1947. We soon learn that the toons are not as they appear. Baby Herman, for instance, chomps on a cigar, has a thing for younger (or is that older?) human women, and talks like a middle-aged Brooklyn cab driver. “For crying out loud, Roger, how many times do we have to do this damn scene!” he bellows, stalking off the set.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I can give you stars!” Roger protests, hitting himself on the head with a spontaneously appearing frying pan, which produces, unfruitfully, bells then butterflies. The director calls lunch.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>And thus are we introduced to this alternate reality, where cartoon rules apply, at least for cartoons. In this world, when Dumbo appears flying around the movie lot, a studio head explains, “I got him on loan from Disney.” In this world, when you order a scotch on the rocks in a toon bar, you’d better add “and I mean with ice!” lest your waiter take you literally. And in this world, when a toon’s wife is cheating on you by “playing pattycake” with another man, that description is not a euphemism. One of the most compelling elements of \u003ci>Roger Rabbit\u003c/i> is that no joke is wasted; each adds another layer to our understanding of the emotional life of the animated folk and their complex relationship with humans.\u003c/p>\n\u003cp>That sort of efficiency permeates the script, which has private eye Eddie Valiant (Bob Hoskins), a boozer whose career turned sour after his brother was done in by a piano-dropping toon, becoming embroiled in a murder mystery involving the rabbit, a will, and an insidious corporate conspiracy.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Classic film tropes abound, each with its own sillified twist punctuated by snappy dialogue. The animated femme fatale Jessica Rabbit, a member of the rodentia family by marriage only, \u003ca href=\"http://www.youtube.com/watch?v=yy5THitqPBw\">calls to mind\u003c/a> a slower-burning Rita Hayworth in \u003ci>Gilda\u003c/i>. Built — or rather drawn — to mesmerize men into a sex daze, she pleads her innocence to Eddie with the highly quotable: “I’m not bad, I’m just drawn that way.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=XAnNvnViJpo&w=480&h=360]\u003c/p>\n\u003cp>\u003ci>Casablanca\u003c/i>, \u003ci>The Maltese Falcon\u003c/i>, \u003ci>Vertigo\u003c/i>, and especially \u003ci>Chinatown\u003c/i> — \u003ci>Roger Rabbit\u003c/i> borrows from them all. There’s even a great bit of economical storytelling lifted from \u003ci>Rear Window\u003c/i>, in which we’re brought up to speed on Eddie’s entire history solely through photographs and newspaper clips.\u003c/p>\n\u003cp>The technical virtuosity is even more impressive. As director Zemeckis recently \u003ca href=\"http://www.npr.org/2012/12/01/166258733/fresh-air-weekend-robert-zemeckis-%20and-ken-tucker\">explained on \u003ci>Fresh Air\u003c/i>\u003c/a>, the animators devised a process that endowed each cel with the same lighting as in the corresponding live-action scene. The film also breaks a longstanding rule of hybrid human-cartoon projects by allowing the camera to roam. In films like \u003ci>Mary Poppins\u003c/i>, Zemeckis said, the recording device was always static “because it would be so difficult to draw different changes of perspective as the camera moves.” But he shot the film “like I would any live action movie. And the animators actually found that it worked better by having the camera moving. That they were able to actually give more life to the cartoon characters and have them feel like they’re more integrated into the actual two-dimensional set.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>That visual integration of man and toon functions as a jarring counterpoint to their respective places in the movie’s fictional society. It’s an audacious stroke that the very word “toon,” whenever mouthed, sounds just shy of a racial slur. When the film’s villain, Judge Doom (Christopher Lloyd), makes the ominous pronouncement that “a human has been murdered by a toon,” it doesn’t take much to imagine him subbing in the letter c for the beginning consonant of that last word.\u003c/p>\n\u003cp>There’s more than a little sense here that toons occupy the same socioeconomic position, and are viewed with the same potently racist mixture of fascination, paternalism, and fear, as African Americans in the real-life period portrayed. It’s possible, in fact, to fault the film for playing a bit too fast and loose with that substitution, to the point where it’s willing to trade on those stereotypes without necessarily shattering them. For instance, toons are playful, joyous and good box office, but they’re also mercurial, anarchic, and physically dangerous; after all, they enjoy the more forgiving laws of physics that apply within the animated world. The toons even live in their own walled-off area, Toon Town, though if a human wants to take a walk on the wild side, he can mix with them at an underground nightclub where top stars like Donald and Daffy Duck moonlight as performers. (Perhaps the biggest transgressive thrill in this milieu: animated \u003ci>inter-studio\u003c/i> mingling.) The toons, in fact, pack the repressed power of an underclass, and if they were ever released from their servitude as manufactured entertainment, there’s no telling what they might do. (The story even presses the analogy to real-world otherness by using genocide as a plot point. How do you like that in your \u003ca href=\"http://boxofficemojo.com/movies/?%20id=whoframedrogerrabbit.htm\">top-grossing\u003c/a> animated films?)\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=6H9f8qUrF6w&w=480&h=360]\u003c/p>\n\u003cp>The denouement provides the movie’s final alternate-universe thrill. It turns out Judge Doom has been buying up land and L.A.’s mass transit system, which he intends to dismantle, because he wants to build a freeway. What’s that? Eddie wants to know. Here’s Doom’s explanation, delivered by Christopher Lloyd with all due visionary megalomania: \u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">“Eight lanes of shimmering cement running from here to Pasadena… I see a place where people get on and off the freeway, on and off, off and on, all day, all night. Soon where Toon Town once stood will be a string of gas stations, motels, restaurants that sell rapidly prepared food, tire salons, automobile dealerships, and wonderful, wonderful billboards reaching as far as the eye can see. My god it’ll be beautiful.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This revelation has its roots in what some have claimed to be a \u003ca href=\"http://%20en.wikipedia.org/wiki/General_Motors_streetcar_conspiracy\">real car company conspiracy\u003c/a>, paving the way, literally, for the autocentric dystopia that many find L.A. to be today. In the film however, the plot is foiled, and the finale trots out dozens of cartoon familiars sending our heroes off into a dazzlingly luminescent animated landscape, and serenaded with the Toon Town anthem: “\u003ca href=\"http://www.youtube.com/watch?v=E8pFJGYTygg\">Smile, darn ya smile\u003c/a>, you know this great world is a good world after all…”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s an ending so self-consciously slaphappy, even in an animated feature, as to seem almost perverse. So what is it I always feel here? Ruefulness? In its saccharine cinematic wrap-up to unresolved real-world problems, \u003ci>Who Framed Roger Rabbit\u003c/i> seems to both pine for the innocence of our celluloid dreams while also pointing them out as the jejune artifices they truly are. That’s a neat trick.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a mixed live action/animated tour de force and a technical marvel, \u003ci>Who Framed Roger Rabbit\u003c/i> holds an entrenched spot in the pantheon of movie originality. But it’s the unflinchingly allegorical elements of Roger Zemeckis’ 1988 film that claim the most interest. Beneath the well-crafted jokes and cartoon high spirits, the film gnaws at the nostalgia felt for an Old Hollywood that so blithely manifested deep American racial disparities, and it does so while featuring cameos by the likes of Yosemite Sam and Tweety. It doesn’t get more subversive than that.\u003c/p>\n\u003cp>The story’s ingenious conceit is that human-created cartoons, including some of the most recognizable characters in the animated species, coexist with Homo sapiens — off-screen and three-dimensionally, that is. These “toons,” as they’re called, make up a kind of movie-industry underclass that is exploited for profit-making laughs. That’s a pretty audacious motif in a work ostensibly for children, and when you add the superimposition onto the crowded thematic canvas of a top-notch spoof on film noir, you’ve got a movie working overtime in the ideas department.\u003c/p>\n\u003cp>The film starts with a feint, immersing the viewer in a traditional-looking though unfamiliar cartoon, styled somewhere between Warner Bros’ \u003ci>Merrie Melodies\u003c/i> and MGM’s \u003ci>Tom and Jerry\u003c/i>. This one’s a vehicle for a character named Roger Rabbit; the plot: Roger trying to save his infant charge, Baby Herman, from all manner of household dangers, and, like all good animated masochists, taking the brunt of the fun. When, in the middle of the mayhem, a refrigerator falls on Roger and a circle of fish instead of the obligatory stars surround his head, we hear…\u003c/p>\n\u003cp>“Cut!” \u003c/p>\n\u003cp>That’s from the director, off-screen, and it’s followed by a pullback reveal of what we’ve actually been watching: the action on a Hollywood movie set, circa 1947. We soon learn that the toons are not as they appear. Baby Herman, for instance, chomps on a cigar, has a thing for younger (or is that older?) human women, and talks like a middle-aged Brooklyn cab driver. “For crying out loud, Roger, how many times do we have to do this damn scene!” he bellows, stalking off the set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can give you stars!” Roger protests, hitting himself on the head with a spontaneously appearing frying pan, which produces, unfruitfully, bells then butterflies. The director calls lunch.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>And thus are we introduced to this alternate reality, where cartoon rules apply, at least for cartoons. In this world, when Dumbo appears flying around the movie lot, a studio head explains, “I got him on loan from Disney.” In this world, when you order a scotch on the rocks in a toon bar, you’d better add “and I mean with ice!” lest your waiter take you literally. And in this world, when a toon’s wife is cheating on you by “playing pattycake” with another man, that description is not a euphemism. One of the most compelling elements of \u003ci>Roger Rabbit\u003c/i> is that no joke is wasted; each adds another layer to our understanding of the emotional life of the animated folk and their complex relationship with humans.\u003c/p>\n\u003cp>That sort of efficiency permeates the script, which has private eye Eddie Valiant (Bob Hoskins), a boozer whose career turned sour after his brother was done in by a piano-dropping toon, becoming embroiled in a murder mystery involving the rabbit, a will, and an insidious corporate conspiracy.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Classic film tropes abound, each with its own sillified twist punctuated by snappy dialogue. The animated femme fatale Jessica Rabbit, a member of the rodentia family by marriage only, \u003ca href=\"http://www.youtube.com/watch?v=yy5THitqPBw\">calls to mind\u003c/a> a slower-burning Rita Hayworth in \u003ci>Gilda\u003c/i>. Built — or rather drawn — to mesmerize men into a sex daze, she pleads her innocence to Eddie with the highly quotable: “I’m not bad, I’m just drawn that way.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XAnNvnViJpo'\n title='//www.youtube.com/embed/XAnNvnViJpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>Casablanca\u003c/i>, \u003ci>The Maltese Falcon\u003c/i>, \u003ci>Vertigo\u003c/i>, and especially \u003ci>Chinatown\u003c/i> — \u003ci>Roger Rabbit\u003c/i> borrows from them all. There’s even a great bit of economical storytelling lifted from \u003ci>Rear Window\u003c/i>, in which we’re brought up to speed on Eddie’s entire history solely through photographs and newspaper clips.\u003c/p>\n\u003cp>The technical virtuosity is even more impressive. As director Zemeckis recently \u003ca href=\"http://www.npr.org/2012/12/01/166258733/fresh-air-weekend-robert-zemeckis-%20and-ken-tucker\">explained on \u003ci>Fresh Air\u003c/i>\u003c/a>, the animators devised a process that endowed each cel with the same lighting as in the corresponding live-action scene. The film also breaks a longstanding rule of hybrid human-cartoon projects by allowing the camera to roam. In films like \u003ci>Mary Poppins\u003c/i>, Zemeckis said, the recording device was always static “because it would be so difficult to draw different changes of perspective as the camera moves.” But he shot the film “like I would any live action movie. And the animators actually found that it worked better by having the camera moving. That they were able to actually give more life to the cartoon characters and have them feel like they’re more integrated into the actual two-dimensional set.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>That visual integration of man and toon functions as a jarring counterpoint to their respective places in the movie’s fictional society. It’s an audacious stroke that the very word “toon,” whenever mouthed, sounds just shy of a racial slur. When the film’s villain, Judge Doom (Christopher Lloyd), makes the ominous pronouncement that “a human has been murdered by a toon,” it doesn’t take much to imagine him subbing in the letter c for the beginning consonant of that last word.\u003c/p>\n\u003cp>There’s more than a little sense here that toons occupy the same socioeconomic position, and are viewed with the same potently racist mixture of fascination, paternalism, and fear, as African Americans in the real-life period portrayed. It’s possible, in fact, to fault the film for playing a bit too fast and loose with that substitution, to the point where it’s willing to trade on those stereotypes without necessarily shattering them. For instance, toons are playful, joyous and good box office, but they’re also mercurial, anarchic, and physically dangerous; after all, they enjoy the more forgiving laws of physics that apply within the animated world. The toons even live in their own walled-off area, Toon Town, though if a human wants to take a walk on the wild side, he can mix with them at an underground nightclub where top stars like Donald and Daffy Duck moonlight as performers. (Perhaps the biggest transgressive thrill in this milieu: animated \u003ci>inter-studio\u003c/i> mingling.) The toons, in fact, pack the repressed power of an underclass, and if they were ever released from their servitude as manufactured entertainment, there’s no telling what they might do. (The story even presses the analogy to real-world otherness by using genocide as a plot point. How do you like that in your \u003ca href=\"http://boxofficemojo.com/movies/?%20id=whoframedrogerrabbit.htm\">top-grossing\u003c/a> animated films?)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6H9f8qUrF6w'\n title='//www.youtube.com/embed/6H9f8qUrF6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The denouement provides the movie’s final alternate-universe thrill. It turns out Judge Doom has been buying up land and L.A.’s mass transit system, which he intends to dismantle, because he wants to build a freeway. What’s that? Eddie wants to know. Here’s Doom’s explanation, delivered by Christopher Lloyd with all due visionary megalomania: \u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">“Eight lanes of shimmering cement running from here to Pasadena… I see a place where people get on and off the freeway, on and off, off and on, all day, all night. Soon where Toon Town once stood will be a string of gas stations, motels, restaurants that sell rapidly prepared food, tire salons, automobile dealerships, and wonderful, wonderful billboards reaching as far as the eye can see. My god it’ll be beautiful.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This revelation has its roots in what some have claimed to be a \u003ca href=\"http://%20en.wikipedia.org/wiki/General_Motors_streetcar_conspiracy\">real car company conspiracy\u003c/a>, paving the way, literally, for the autocentric dystopia that many find L.A. to be today. In the film however, the plot is foiled, and the finale trots out dozens of cartoon familiars sending our heroes off into a dazzlingly luminescent animated landscape, and serenaded with the Toon Town anthem: “\u003ca href=\"http://www.youtube.com/watch?v=E8pFJGYTygg\">Smile, darn ya smile\u003c/a>, you know this great world is a good world after all…”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an ending so self-consciously slaphappy, even in an animated feature, as to seem almost perverse. So what is it I always feel here? Ruefulness? In its saccharine cinematic wrap-up to unresolved real-world problems, \u003ci>Who Framed Roger Rabbit\u003c/i> seems to both pine for the innocence of our celluloid dreams while also pointing them out as the jejune artifices they truly are. That’s a neat trick.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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