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"content": "\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\n\u003cp>https://youtu.be/gn5QmllRCn4\u003c/p>\n\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gn5QmllRCn4'\n title='//www.youtube.com/embed/gn5QmllRCn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Devs' Explores Modern, Tech-Driven Cultural Alienation in San Francisco",
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"content": "\u003cp>\u003cem>\u003cstrong>The first two episodes of \u003c/strong>\u003c/em>\u003cstrong>Devs \u003c/strong>\u003cem>\u003cstrong>drop on FX on Hulu on Thursday, March 5th. The remaining six episodes will be published over the following six weeks.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The light, in the fascinating and frustrating limited series \u003cem>Devs\u003c/em>, is always golden. Doesn’t matter if we find ourselves outside (as we do in any number of establishing shots that soar over downtown San Francisco as the first rays of sunlight burnish every surface to a blinding sheen), or if we’re inside (as we are in the many scenes taking place within the Devs Lab—a gleaming cube mysteriously suspended in mid-air inside a vast, golden vault, where mysterious things are afoot, mysteriously, amid pulsing, yellow, mysterious light).\u003c/p>\n\u003cp>What the various coders who work in that gorgeous, glowing space are actually up to is something the series, written and directed by Alex Garland, parcels out slowly.\u003c/p>\n\u003cp>Moodily.\u003c/p>\n\u003cp>\u003cem>Broodingly\u003c/em>, even.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None of which should come as a surprise to those who’ve followed Garland’s career. His films \u003cem>Ex Machina\u003c/em> and \u003cem>Annihilation\u003c/em> took pulpy, familiar sci-fi premises (robots and alien invasion, respectively) and set about methodically dissecting them, uncovering satisfying new layers inside their central metaphors—the nature of consciousness (\u003cem>Ex Machina\u003c/em>) and the power of depression and grief to alter our perception (\u003cem>Annihilatio\u003c/em>n).\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>concerns itself with both of those themes, to varying degrees—but the act of stretching its story over eight hours saps the momentum by allowing for repetitive story beats and ponderous, unintentionally funny navel-gazing dialogue about the state of the universe.\u003c/p>\n\u003cp>It can’t help but feel of-the-moment, however, taking place as it does largely on the bucolic Bay Area campus of a tech firm led by an eccentric, leonine CEO (Nick Offerman)—an oasis of redwood trees, fixie bikes and glass-paneled workspaces. Two software engineers at the firm, Lily (Sonoya Mizuno) and Sergei (Karl Glusman) share an apartment facing Dolores Park; in the morning, they step over a man sleeping in their front doorway.\u003c/p>\n\u003cp>When Sergei gets tapped to join the Devs Team, Lily finds herself drawn into a world of corporate espionage, violence and, not for nothing, quantum physics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aoNloYTsH0Y\u003c/p>\n\u003cp>“Finds herself drawn into” being the operative phrase, here. On those rare occasions Mizuno’s Lily is called upon to emote, she’s quite good—but she spends the vast majority of her screentime stoically being acted upon. The script has her chafing against the idea of being rescued by men like Sergei or her former boyfriend Jamie (a wryly funny Jin Ha), but then proceeds to have her … be rescued. By men. A lot.\u003c/p>\n\u003cp>Which would be fine, or at least not a deal-breaker, if the series weren’t obsessed with underlining Lily’s chosen status. Other characters are forever telling her she’s “exceptional,” “smart,” “strong” and “special,” but she’s afforded precious few opportunities to make that case to us herself. Her choices keep getting circumscribed, and she keeps reacting by … not reacting.\u003c/p>\n\u003cp>Now: It could be argued that there exists a clear, structural, story-logic reason for Lily’s lack of agency which I will not spoil. Even so, it’s one thing to understand the intellectual point \u003cem>Devs \u003c/em>is making with Lily’s passivity, and quite another for it to work emotionally—and dramatically.\u003c/p>\n\u003cp>The show is gorgeously shot, and features sparks of deadpan humor from Devs coders played by Stephen McKinley Henderson and Cailee Spaeny. Alison Pill, as Offerman’s second-in-command, is given a lot of those “nature of the universe” monologues to deliver, and she does so with a blank, affectless stare that’s duly chilling. The great Zach Grenier, as a villainous head of security, goes about his grim business with a hard-nosed menace.\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>gets most interesting when it drops its whispered, impassive tone and lets, for example, Jin Ha’s character inject a much-needed note of humanity, or when a powerful Senator played by Janet Mock gets to rake Offerman’s imperious tech leader over the coals:\u003c/p>\n\u003cblockquote>\u003cp>A.I. is gonna create 60% unemployment. Instagram makes people feel s**t about their lives. Twitter makes them feel reviled. Facebook destroyed democracy. They use you, need you … but they don’t like you anymore.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There’s a rawness behind those words, a beating pulse, a clear point of view that only too rarely makes its presence felt over the course of the series’ eight episodes. The plague of modern, tech-driven cultural alienation is \u003cem>Devs\u003c/em>‘ theme—and it’s a solid one. The problem, from a pure storytelling point of view, is that the show’s tone, characters and narrative momentum have all surrendered to that same detached, emotionally isolated form of disaffection.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tech+Bubble%3A+%27Devs%27+Is+Stylish%2C+But+Hollow+At+The+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>None of which should come as a surprise to those who’ve followed Garland’s career. His films \u003cem>Ex Machina\u003c/em> and \u003cem>Annihilation\u003c/em> took pulpy, familiar sci-fi premises (robots and alien invasion, respectively) and set about methodically dissecting them, uncovering satisfying new layers inside their central metaphors—the nature of consciousness (\u003cem>Ex Machina\u003c/em>) and the power of depression and grief to alter our perception (\u003cem>Annihilatio\u003c/em>n).\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>concerns itself with both of those themes, to varying degrees—but the act of stretching its story over eight hours saps the momentum by allowing for repetitive story beats and ponderous, unintentionally funny navel-gazing dialogue about the state of the universe.\u003c/p>\n\u003cp>It can’t help but feel of-the-moment, however, taking place as it does largely on the bucolic Bay Area campus of a tech firm led by an eccentric, leonine CEO (Nick Offerman)—an oasis of redwood trees, fixie bikes and glass-paneled workspaces. Two software engineers at the firm, Lily (Sonoya Mizuno) and Sergei (Karl Glusman) share an apartment facing Dolores Park; in the morning, they step over a man sleeping in their front doorway.\u003c/p>\n\u003cp>When Sergei gets tapped to join the Devs Team, Lily finds herself drawn into a world of corporate espionage, violence and, not for nothing, quantum physics.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aoNloYTsH0Y'\n title='//www.youtube.com/embed/aoNloYTsH0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Finds herself drawn into” being the operative phrase, here. On those rare occasions Mizuno’s Lily is called upon to emote, she’s quite good—but she spends the vast majority of her screentime stoically being acted upon. The script has her chafing against the idea of being rescued by men like Sergei or her former boyfriend Jamie (a wryly funny Jin Ha), but then proceeds to have her … be rescued. By men. A lot.\u003c/p>\n\u003cp>Which would be fine, or at least not a deal-breaker, if the series weren’t obsessed with underlining Lily’s chosen status. Other characters are forever telling her she’s “exceptional,” “smart,” “strong” and “special,” but she’s afforded precious few opportunities to make that case to us herself. Her choices keep getting circumscribed, and she keeps reacting by … not reacting.\u003c/p>\n\u003cp>Now: It could be argued that there exists a clear, structural, story-logic reason for Lily’s lack of agency which I will not spoil. Even so, it’s one thing to understand the intellectual point \u003cem>Devs \u003c/em>is making with Lily’s passivity, and quite another for it to work emotionally—and dramatically.\u003c/p>\n\u003cp>The show is gorgeously shot, and features sparks of deadpan humor from Devs coders played by Stephen McKinley Henderson and Cailee Spaeny. Alison Pill, as Offerman’s second-in-command, is given a lot of those “nature of the universe” monologues to deliver, and she does so with a blank, affectless stare that’s duly chilling. The great Zach Grenier, as a villainous head of security, goes about his grim business with a hard-nosed menace.\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>gets most interesting when it drops its whispered, impassive tone and lets, for example, Jin Ha’s character inject a much-needed note of humanity, or when a powerful Senator played by Janet Mock gets to rake Offerman’s imperious tech leader over the coals:\u003c/p>\n\u003cblockquote>\u003cp>A.I. is gonna create 60% unemployment. Instagram makes people feel s**t about their lives. Twitter makes them feel reviled. Facebook destroyed democracy. They use you, need you … but they don’t like you anymore.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There’s a rawness behind those words, a beating pulse, a clear point of view that only too rarely makes its presence felt over the course of the series’ eight episodes. The plague of modern, tech-driven cultural alienation is \u003cem>Devs\u003c/em>‘ theme—and it’s a solid one. The problem, from a pure storytelling point of view, is that the show’s tone, characters and narrative momentum have all surrendered to that same detached, emotionally isolated form of disaffection.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tech+Bubble%3A+%27Devs%27+Is+Stylish%2C+But+Hollow+At+The+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Dixie Chicks Single, 'Gaslighter,' is the Energy America Needs in 2020",
"headTitle": "New Dixie Chicks Single, ‘Gaslighter,’ is the Energy America Needs in 2020 | KQED",
"content": "\u003cp>Donning floral gasmasks and brandishing liberty torches against an apocalyptic, ombré pink landscape, \u003ca href=\"https://www.npr.org/artists/180622559/natalie-maines\">Natalie Maines\u003c/a>, Emily Robison and Martie Maguire look ready for battle. And that’s just the promotional photo.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15399450/dixie-chicks\" target=\"_blank\" rel=\"noopener noreferrer\">Dixie Chicks\u003c/a> has never left our consciousness. The trio’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future\" target=\"_blank\" rel=\"noopener noreferrer\">collaborated with Beyoncé\u003c/a>, \u003ca href=\"https://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener noreferrer\">sold out stadiums\u003c/a>, has been \u003ca href=\"https://www.npr.org/2018/10/11/656485202/hear-soccer-mommys-reflective-cover-of-dixie-chicks-wide-open-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">covered by young indie-rock artists\u003c/a> and recently \u003ca href=\"https://www.youtube.com/watch?v=tMoW5G5LU08\" target=\"_blank\" rel=\"noopener noreferrer\">took Taylor Swift back to her roots\u003c/a>. They are “\u003ca href=\"https://www.npr.org/2020/01/06/793951296/from-dixie-chicks-to-rihanna-our-music-predictions-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">heroes to a whole generation of country listeners and artists\u003c/a>,” NPR Music’s Ann Powers told \u003cem>All Things Considered\u003c/em> in January, but they haven’t released a studio album in 14 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sbVPcPL30xc\u003c/p>\n\u003cp>Co-produced by the band and Jack Antonoff—who have all teased the album for the past two years on social media—\u003cem>Gaslighter\u003c/em> will, finally, come out May 1 via \u003ca href=\"https://dixiechicks.lnk.to/GaslighterPSPAID\" target=\"_blank\" rel=\"noopener noreferrer\">Columbia Records\u003c/a>.\u003c/p>\n\u003cp>The powerful title track, out today with a video directed by Seanne Farmer, will stir the hearts of Dixie Chicks fans with the trio’s rumbling harmonies. “Gaslighter, I’m your mirror / Standing right here until you can see how / You broke me / Yeah, I’m broken,” Maines sings in a reflective section until, in perfect Maines fashion, she explodes with defiant rage: “You’re still sorry and there’s still no apology.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dixie Chicks 2020—y’all, we’re ready.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dixie+Chicks+Announce+First+Album+In+14+Years%2C+%27Gaslighter%2C%27+Share+Title+Track&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donning floral gasmasks and brandishing liberty torches against an apocalyptic, ombré pink landscape, \u003ca href=\"https://www.npr.org/artists/180622559/natalie-maines\">Natalie Maines\u003c/a>, Emily Robison and Martie Maguire look ready for battle. And that’s just the promotional photo.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15399450/dixie-chicks\" target=\"_blank\" rel=\"noopener noreferrer\">Dixie Chicks\u003c/a> has never left our consciousness. The trio’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future\" target=\"_blank\" rel=\"noopener noreferrer\">collaborated with Beyoncé\u003c/a>, \u003ca href=\"https://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener noreferrer\">sold out stadiums\u003c/a>, has been \u003ca href=\"https://www.npr.org/2018/10/11/656485202/hear-soccer-mommys-reflective-cover-of-dixie-chicks-wide-open-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">covered by young indie-rock artists\u003c/a> and recently \u003ca href=\"https://www.youtube.com/watch?v=tMoW5G5LU08\" target=\"_blank\" rel=\"noopener noreferrer\">took Taylor Swift back to her roots\u003c/a>. They are “\u003ca href=\"https://www.npr.org/2020/01/06/793951296/from-dixie-chicks-to-rihanna-our-music-predictions-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">heroes to a whole generation of country listeners and artists\u003c/a>,” NPR Music’s Ann Powers told \u003cem>All Things Considered\u003c/em> in January, but they haven’t released a studio album in 14 years.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sbVPcPL30xc'\n title='//www.youtube.com/embed/sbVPcPL30xc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Co-produced by the band and Jack Antonoff—who have all teased the album for the past two years on social media—\u003cem>Gaslighter\u003c/em> will, finally, come out May 1 via \u003ca href=\"https://dixiechicks.lnk.to/GaslighterPSPAID\" target=\"_blank\" rel=\"noopener noreferrer\">Columbia Records\u003c/a>.\u003c/p>\n\u003cp>The powerful title track, out today with a video directed by Seanne Farmer, will stir the hearts of Dixie Chicks fans with the trio’s rumbling harmonies. “Gaslighter, I’m your mirror / Standing right here until you can see how / You broke me / Yeah, I’m broken,” Maines sings in a reflective section until, in perfect Maines fashion, she explodes with defiant rage: “You’re still sorry and there’s still no apology.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dixie Chicks 2020—y’all, we’re ready.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dixie+Chicks+Announce+First+Album+In+14+Years%2C+%27Gaslighter%2C%27+Share+Title+Track&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The other day I went to a party and wound up talking to some millennials who are backing Bernie Sanders. The conversation turned to the movies \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a>, and one of them wondered if the popularity of their shared theme—the abyss between the haves and have nots—meant we might be returning to the rebellious 1960s.\u003c/p>\n\u003cp>He would find further evidence for this thesis in \u003cem>Bacurau\u003c/em>, a funny, violent, unexpectedly moving Brazilian movie that won the Jury Prize at Cannes last spring. Written and directed by Kleber Mendonça Filho and Juliano Dornelles, \u003cem>Bacurau\u003c/em> is a genre-busting entertainment that is at once a portrait of a community, a horror thriller and a timely piece of political filmmaking.\u003c/p>\n\u003cp>The story is set “a few years from now” in the huge area of northeastern Brazil known as the \u003cem>sertão\u003c/em>, an arid, hardscrabble backlands akin to our Wild West. As the action begins, a 30-ish woman named Teresa (Bárbara Colen) returns to her tiny hometown of Bacurau to attend the funeral of her grandmother.\u003c/p>\n\u003cp>Bacurau is a poor, isolated, slightly magical Latin American town, like Gabriel García-Márquez’s Macondo, that is just bursting with the stuff of life, from music and brothels to a museum rich with local history.\u003c/p>\n\u003cp>At first, things seem normal in Bacurau, whose tolerant life the filmmakers show us quietly and affectionately. The grandmother is buried in a heartfelt ceremony. The local doctor, played by the wonderful actress Sônia Braga, dispenses medicine when she’s not fulminating drunkenly. And Teresa hooks up with a folk-hero crook, Pacote, played by hunky Thomas Aquino, whose crimes are shown on a big-screen TV in the center of town. Everyone’s main gripe is that the smarmy regional mayor, named Tony Junior, has diverted the local water supply.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKTejyk9ZIA\u003c/p>\n\u003cp>Then ominous things start happening: Bacurau disappears from Google Maps; a UFO keeps flying overhead; a water truck is riddled with bullet holes. And what are we to make of those mysterious American tourists staying in a house outside of town? It can’t be a good sign that their guide is the German actor, Udo Kier, whose brand is amorality.\u003c/p>\n\u003cp>Now, \u003cem>Bacurau\u003c/em> is one of those movies like \u003cem>Parasite\u003c/em>—or Mendonça’s brilliant debut \u003cem>Neighboring Sounds\u003c/em>—where you’re never quite sure which way it’s heading. And just like \u003cem>Parasite\u003c/em>, it’s one of those rare movies that manages to be both devoutly national \u003cem>and\u003c/em> universal.\u003c/p>\n\u003cp>On one hand, the film is unabashedly Brazilian, from its opening song by Tropicália chanteuse Gal Costa to its nods to Brazil’s radical Cinema Novo movement of the 1960s. Brazilian audiences know that it’s tweaking their president, \u003ca href=\"https://www.npr.org/2018/12/31/680648942/jair-bolsonaro-a-polarizing-figure-prepares-to-become-brazils-president\">Jair Bolsonaro\u003c/a>, a virulently anti-liberal populist who makes Donald Trump look mellow.\u003c/p>\n\u003cp>Yet viewers here will have no trouble following \u003cem>Bacurau\u003c/em>‘s cockeyed plot, enjoying its excellent jokes or understanding the power dynamic it’s portraying—though Americans may be startled to see a film in which \u003cem>we\u003c/em> are the bad guys. Not that this is any kind of anti-American screed, mind you. While the movie’s not so fond of gun-crazy Yanks, it’s clearly steeped in a passion for American pop culture.\u003c/p>\n\u003cp>If you’ve ever seen a Western, you’ll know the action is building to a grand showdown, one that Mendonça and Dornelles make not just exciting but politically charged. Faced with danger from the outside, the community bands together to fight back against whoever is coming after them. Grabbing weapons old and new, they draw on their long local tradition of resistance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a political fable, \u003cem>Bacurau\u003c/em> isn’t what you’d call subtle, though it \u003cem>is\u003c/em> emotionally satisfying in its Tarantino-esque fantasy of history’s outsiders fighting back against those who’ve been crushing them. But unlike Tarantino, the filmmakers are driven by an underlying moral seriousness. Their use of violence isn’t heartlessly gleeful—you feel the human weight of people dying—and the movie’s point isn’t the killing. In fact, beneath its exploitation film trappings, \u003cem>Bacurau\u003c/em> is actually a film about dignity. It takes a backwater community whose members are normally seen as simple or marginal and treats them with the respect they deserve.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mysterious+Events+Disturb+A+Small+Brazilian+Town+In+Genre-Busting+%27Bacurau%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LKTejyk9ZIA'\n title='//www.youtube.com/embed/LKTejyk9ZIA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then ominous things start happening: Bacurau disappears from Google Maps; a UFO keeps flying overhead; a water truck is riddled with bullet holes. And what are we to make of those mysterious American tourists staying in a house outside of town? It can’t be a good sign that their guide is the German actor, Udo Kier, whose brand is amorality.\u003c/p>\n\u003cp>Now, \u003cem>Bacurau\u003c/em> is one of those movies like \u003cem>Parasite\u003c/em>—or Mendonça’s brilliant debut \u003cem>Neighboring Sounds\u003c/em>—where you’re never quite sure which way it’s heading. And just like \u003cem>Parasite\u003c/em>, it’s one of those rare movies that manages to be both devoutly national \u003cem>and\u003c/em> universal.\u003c/p>\n\u003cp>On one hand, the film is unabashedly Brazilian, from its opening song by Tropicália chanteuse Gal Costa to its nods to Brazil’s radical Cinema Novo movement of the 1960s. Brazilian audiences know that it’s tweaking their president, \u003ca href=\"https://www.npr.org/2018/12/31/680648942/jair-bolsonaro-a-polarizing-figure-prepares-to-become-brazils-president\">Jair Bolsonaro\u003c/a>, a virulently anti-liberal populist who makes Donald Trump look mellow.\u003c/p>\n\u003cp>Yet viewers here will have no trouble following \u003cem>Bacurau\u003c/em>‘s cockeyed plot, enjoying its excellent jokes or understanding the power dynamic it’s portraying—though Americans may be startled to see a film in which \u003cem>we\u003c/em> are the bad guys. Not that this is any kind of anti-American screed, mind you. While the movie’s not so fond of gun-crazy Yanks, it’s clearly steeped in a passion for American pop culture.\u003c/p>\n\u003cp>If you’ve ever seen a Western, you’ll know the action is building to a grand showdown, one that Mendonça and Dornelles make not just exciting but politically charged. Faced with danger from the outside, the community bands together to fight back against whoever is coming after them. Grabbing weapons old and new, they draw on their long local tradition of resistance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a political fable, \u003cem>Bacurau\u003c/em> isn’t what you’d call subtle, though it \u003cem>is\u003c/em> emotionally satisfying in its Tarantino-esque fantasy of history’s outsiders fighting back against those who’ve been crushing them. But unlike Tarantino, the filmmakers are driven by an underlying moral seriousness. Their use of violence isn’t heartlessly gleeful—you feel the human weight of people dying—and the movie’s point isn’t the killing. In fact, beneath its exploitation film trappings, \u003cem>Bacurau\u003c/em> is actually a film about dignity. It takes a backwater community whose members are normally seen as simple or marginal and treats them with the respect they deserve.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mysterious+Events+Disturb+A+Small+Brazilian+Town+In+Genre-Busting+%27Bacurau%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Father Recounts His Search For the Son Who Vanished in the Wilderness",
"headTitle": "A Father Recounts His Search For the Son Who Vanished in the Wilderness | KQED",
"content": "\u003cp>In 2014, wilderness explorer Roman Dial experienced every parent’s nightmare when he learned that his son, then 27, was missing in a remote Central American rainforest, thousands of miles away.\u003c/p>\n\u003cp>Dial, a professor of mathematics and biology at Alaska Pacific University, is known for his skills in mountaineering, rafting and backcountry endurance racing. He shared those passions with his son, Cody Roman, who went by the name Roman. Over the years, father and son embarked on exotic adventures together, once packrafting in Australia, another time venturing into Arctic Alaska.\u003c/p>\n\u003cp>“He was a great outdoorsman,” Dial says of his son. “I kind of hoped that he would be an outdoors partner for me for life.”\u003c/p>\n\u003cp>In the months before he disappeared, the younger Roman had been exploring the jungles of Central America. The last email he sent to his father indicated that he would be traveling alone into the Osa Peninsula in southwestern Costa Rica for four or five days. When two weeks passed and Dial hadn’t heard from his son, he knew something was wrong.\u003c/p>\n\u003cp>“I was racked with a lot of feelings, like terror and guilt and urgency,” Dial says. “I got an airplane ticket to fly [to Costa Rica] the next day.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dial’s frantic search for his son lasted nearly two years, during which time he hired a private investigator, hacked through dense jungle and sorted through confusing, contradictory tips from locals. He even engaged with a reality TV crew to explore the possibility of foul play in the disappearance.\u003c/p>\n\u003cp>Finally, in 2016, a Costa Rican miner found Roman’s body in the jungle. “It was in a shallow canyon that was only about half a mile from where I’d camped multiple times looking for him,” Dial says. There was no sign of foul play.\u003c/p>\n\u003cp>Dial’s new book, \u003cem>The Adventurer’s Son,\u003c/em> is an account of his search for Roman, as well as a reflection on the risks of extreme wilderness adventures.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875910 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.55.47-AM.png\" alt=\"\" width=\"303\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.55.47-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.55.47-AM-160x237.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">On his action plan when he began looking for Roman in Costa Rica\u003c/strong>\u003c/p>\n\u003cp>I called the embassy and I said, “My son is missing,” but I wasn’t hoping they were going to do anything. I wanted to go down there and do everything that I could. I thought it was my responsibility, not theirs. When I got there, I discovered that they weren’t even looking where I said he planned to go. They were pursuing this lead where somebody had seen my son, they claimed with this local drug dealer [Pata de Lora] walking on a trail outside of the park, and that just didn’t add up to me. My son’s been sending these emails for months about these wild adventures he’s been going on, and he’d said explicitly that he eschewed guides, and here he was with a guide on a tourist trail outside of the park? It just didn’t add up. But everybody treated me as if I was just a typical parent who didn’t really know their child.\u003c/p>\n\u003cp>\u003cstrong>On imagining the perils his son faced in the rainforest \u003c/strong>\u003c/p>\n\u003cp>My Ph.D. is in tropical rainforest ecology, and I’ve done research in jungles in Asia, in Australia, Central America and South America, and so I was aware of the hazards in the jungle. I could imagine that he was bitten by a snake. … You can see a poisonous snake once every few days, practically. … There’s the great big bushmaster and there’s a little palm viper—a little short little viper that hangs from bushes about eye level, and people tend to get bit in the face or the neck by these things. …\u003c/p>\n\u003cp>I thought he could have slipped, because he’s off trail. He could have slipped and broken a leg and he could have sepsis, because things go bad when infections happen quickly in the tropics. … I’ve been in the rainforest enough to realize that when it rains and the wind blows, that trees fall down and it becomes very dangerous. Then there was also the possibility [of foul play], because this place [is] lawless. [There are] people moving drugs, it’s got people mining for gold. And once you break one law, it’s easier to break other laws, so there was also the possibility of foul play.\u003c/p>\n\u003cp>\u003cstrong>On agreeing to work with a former DEA investigator and TV production company that wanted to solve the mystery and do a TV show about his son’s disappearance \u003c/strong>\u003c/p>\n\u003cp>There were three cameramen and bright lights … [the investigator said] “Look, this is really hard to tell you, but we found out that your son was abducted by miners and then he was murdered.” And then he paused. He said, “This is the hardest part to tell you. He was dismembered and fed to the sharks in the ocean.” And it was all predicated on the Pata de Lora [drug dealer] story. …\u003c/p>\n\u003cp>I was just shocked because here I had come down and I signed up for this TV show hoping that they would be able to help me, but instead, all they had done is sort of staged this really dramatic moment … with the cameras rolling, they had this expert investigator tell me that my son had been murdered and dismembered and fed to sharks. And all I could think of is, “Oh, no. Another Pata de Lora story. This is not the guy that I want.” So it felt really exploitative right there.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>On learning that his son’s body had been found\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13875911\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.58.21-AM.png\" alt=\"Roman Dial is a professor of mathematics and biology at Alaska Pacific University.\" width=\"302\" height=\"192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.58.21-AM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.58.21-AM-160x102.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">Roman Dial is a professor of mathematics and biology at Alaska Pacific University. \u003ccite>(Ben Weissenbach/Courtesy of Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The consul general at the embassy … said, “Roman, a body has been found near Dos Brazos, and we think it may be your son. There was some camping gear there.” … I fly down to Costa Rica immediately. I want to get to this site before they start bringing stuff up. And the next day … the embassy sends me some texts and it’s their photographs of the equipment that they’ve found at the site. And sure enough, it’s all my son’s stuff. I’d made a poster of equipment that he would have had, like a reward poster. There were the green shoes that I put on the poster. And there was the sleeping pad that was yellow on one side and silver on the other. There was that in one of these photographs. And there was the backpack that I’d found that he’d bought in a North Face store in San Jose. … There was a blue headlamp that I’d given him in Anchorage. And there was the compass that I’d given him in Anchorage. And there was his stuff. And it was him.\u003c/p>\n\u003cp>\u003cstrong>On what he believes happened to Roman \u003c/strong>\u003c/p>\n\u003cp>[The forensic anthropologist] said, “We looked at the bones and there’s no sign of trauma. There were no machete hack marks on the bones. There were no bullet fractures.” … It seemed like he hadn’t been murdered. I can’t see why somebody would have murdered him in the bottom of this canyon. It looked to me like maybe a tree had fallen on him or one of the rangers said they thought that a snake had bitten him because they found a fer-de-lance [snake] down there, and fer-de-lances, they live in the same area, small area their whole life. They don’t go very far.\u003c/p>\n\u003cp>\u003cstrong>On how the tragedy of losing his son has made him rethink risky adventures \u003c/strong>\u003c/p>\n\u003cp>I’ve never been much of a soloist myself. I’ve done some solo trips, but I don’t enjoy them that much. I’d rather share things with people. … But what this whole … process has shown me is that for 40 years I was extremely selfish in that I would go out and do risky things because it was a thrill that made me feel good, and I never really realized that when we die, we’re dead and we don’t feel anything. And the people we leave behind, the people who love us the most, those are the people who hurt the most.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Father+Recounts+His+Search+For+The+Son+Who+Vanished+In+Costa+Rican+Wilderness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, wilderness explorer Roman Dial experienced every parent’s nightmare when he learned that his son, then 27, was missing in a remote Central American rainforest, thousands of miles away.\u003c/p>\n\u003cp>Dial, a professor of mathematics and biology at Alaska Pacific University, is known for his skills in mountaineering, rafting and backcountry endurance racing. He shared those passions with his son, Cody Roman, who went by the name Roman. Over the years, father and son embarked on exotic adventures together, once packrafting in Australia, another time venturing into Arctic Alaska.\u003c/p>\n\u003cp>“He was a great outdoorsman,” Dial says of his son. “I kind of hoped that he would be an outdoors partner for me for life.”\u003c/p>\n\u003cp>In the months before he disappeared, the younger Roman had been exploring the jungles of Central America. The last email he sent to his father indicated that he would be traveling alone into the Osa Peninsula in southwestern Costa Rica for four or five days. When two weeks passed and Dial hadn’t heard from his son, he knew something was wrong.\u003c/p>\n\u003cp>“I was racked with a lot of feelings, like terror and guilt and urgency,” Dial says. “I got an airplane ticket to fly [to Costa Rica] the next day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dial’s frantic search for his son lasted nearly two years, during which time he hired a private investigator, hacked through dense jungle and sorted through confusing, contradictory tips from locals. He even engaged with a reality TV crew to explore the possibility of foul play in the disappearance.\u003c/p>\n\u003cp>Finally, in 2016, a Costa Rican miner found Roman’s body in the jungle. “It was in a shallow canyon that was only about half a mile from where I’d camped multiple times looking for him,” Dial says. There was no sign of foul play.\u003c/p>\n\u003cp>Dial’s new book, \u003cem>The Adventurer’s Son,\u003c/em> is an account of his search for Roman, as well as a reflection on the risks of extreme wilderness adventures.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875910 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.55.47-AM.png\" alt=\"\" width=\"303\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.55.47-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.55.47-AM-160x237.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">On his action plan when he began looking for Roman in Costa Rica\u003c/strong>\u003c/p>\n\u003cp>I called the embassy and I said, “My son is missing,” but I wasn’t hoping they were going to do anything. I wanted to go down there and do everything that I could. I thought it was my responsibility, not theirs. When I got there, I discovered that they weren’t even looking where I said he planned to go. They were pursuing this lead where somebody had seen my son, they claimed with this local drug dealer [Pata de Lora] walking on a trail outside of the park, and that just didn’t add up to me. My son’s been sending these emails for months about these wild adventures he’s been going on, and he’d said explicitly that he eschewed guides, and here he was with a guide on a tourist trail outside of the park? It just didn’t add up. But everybody treated me as if I was just a typical parent who didn’t really know their child.\u003c/p>\n\u003cp>\u003cstrong>On imagining the perils his son faced in the rainforest \u003c/strong>\u003c/p>\n\u003cp>My Ph.D. is in tropical rainforest ecology, and I’ve done research in jungles in Asia, in Australia, Central America and South America, and so I was aware of the hazards in the jungle. I could imagine that he was bitten by a snake. … You can see a poisonous snake once every few days, practically. … There’s the great big bushmaster and there’s a little palm viper—a little short little viper that hangs from bushes about eye level, and people tend to get bit in the face or the neck by these things. …\u003c/p>\n\u003cp>I thought he could have slipped, because he’s off trail. He could have slipped and broken a leg and he could have sepsis, because things go bad when infections happen quickly in the tropics. … I’ve been in the rainforest enough to realize that when it rains and the wind blows, that trees fall down and it becomes very dangerous. Then there was also the possibility [of foul play], because this place [is] lawless. [There are] people moving drugs, it’s got people mining for gold. And once you break one law, it’s easier to break other laws, so there was also the possibility of foul play.\u003c/p>\n\u003cp>\u003cstrong>On agreeing to work with a former DEA investigator and TV production company that wanted to solve the mystery and do a TV show about his son’s disappearance \u003c/strong>\u003c/p>\n\u003cp>There were three cameramen and bright lights … [the investigator said] “Look, this is really hard to tell you, but we found out that your son was abducted by miners and then he was murdered.” And then he paused. He said, “This is the hardest part to tell you. He was dismembered and fed to the sharks in the ocean.” And it was all predicated on the Pata de Lora [drug dealer] story. …\u003c/p>\n\u003cp>I was just shocked because here I had come down and I signed up for this TV show hoping that they would be able to help me, but instead, all they had done is sort of staged this really dramatic moment … with the cameras rolling, they had this expert investigator tell me that my son had been murdered and dismembered and fed to sharks. And all I could think of is, “Oh, no. Another Pata de Lora story. This is not the guy that I want.” So it felt really exploitative right there.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>On learning that his son’s body had been found\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13875911\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.58.21-AM.png\" alt=\"Roman Dial is a professor of mathematics and biology at Alaska Pacific University.\" width=\"302\" height=\"192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.58.21-AM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-03-at-11.58.21-AM-160x102.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">Roman Dial is a professor of mathematics and biology at Alaska Pacific University. \u003ccite>(Ben Weissenbach/Courtesy of Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The consul general at the embassy … said, “Roman, a body has been found near Dos Brazos, and we think it may be your son. There was some camping gear there.” … I fly down to Costa Rica immediately. I want to get to this site before they start bringing stuff up. And the next day … the embassy sends me some texts and it’s their photographs of the equipment that they’ve found at the site. And sure enough, it’s all my son’s stuff. I’d made a poster of equipment that he would have had, like a reward poster. There were the green shoes that I put on the poster. And there was the sleeping pad that was yellow on one side and silver on the other. There was that in one of these photographs. And there was the backpack that I’d found that he’d bought in a North Face store in San Jose. … There was a blue headlamp that I’d given him in Anchorage. And there was the compass that I’d given him in Anchorage. And there was his stuff. And it was him.\u003c/p>\n\u003cp>\u003cstrong>On what he believes happened to Roman \u003c/strong>\u003c/p>\n\u003cp>[The forensic anthropologist] said, “We looked at the bones and there’s no sign of trauma. There were no machete hack marks on the bones. There were no bullet fractures.” … It seemed like he hadn’t been murdered. I can’t see why somebody would have murdered him in the bottom of this canyon. It looked to me like maybe a tree had fallen on him or one of the rangers said they thought that a snake had bitten him because they found a fer-de-lance [snake] down there, and fer-de-lances, they live in the same area, small area their whole life. They don’t go very far.\u003c/p>\n\u003cp>\u003cstrong>On how the tragedy of losing his son has made him rethink risky adventures \u003c/strong>\u003c/p>\n\u003cp>I’ve never been much of a soloist myself. I’ve done some solo trips, but I don’t enjoy them that much. I’d rather share things with people. … But what this whole … process has shown me is that for 40 years I was extremely selfish in that I would go out and do risky things because it was a thrill that made me feel good, and I never really realized that when we die, we’re dead and we don’t feel anything. And the people we leave behind, the people who love us the most, those are the people who hurt the most.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A song fuses words and music. Yet the human brain can instantly separate a song’s lyrics from its melody.\u003c/p>\n\u003cp>And now scientists think they know how this happens.\u003c/p>\n\u003cp>A team led by researchers at McGill University \u003ca href=\"https://science.sciencemag.org/cgi/doi/10.1126/science.aaz3468\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in \u003cem>Science\u003c/em> Thursday that song sounds are processed simultaneously by two separate brain areas—one in the left hemisphere and one in the right.\u003c/p>\n\u003cp>“On the left side you can decode the speech content but not the melodic content, and on the right side you can decode the melodic content but not the speech content,” says \u003ca href=\"https://www.mcgill.ca/neuro/robert-zatorre-phd\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Zatorre\u003c/a>, a professor at McGill University’s Montreal Neurological Institute.\u003c/p>\n\u003cp>The finding explains something doctors have observed in stroke patients for decades, says \u003ca href=\"https://www.mpg.de/914530/Daniela_Sammler\" target=\"_blank\" rel=\"noopener noreferrer\">Daniela Sammler\u003c/a>, a researcher at the Max Planck Institute for Cognition and Neurosciences in Leipzig, Germany, who was not involved in the study.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you have a stroke in the left hemisphere you are much more likely to have a language impairment than if you have a stroke in the right hemisphere,” Sammler says. Moreover, brain damage to certain areas of the right hemisphere can affect a person’s ability to perceive music.\u003c/p>\n\u003cp>The study was inspired by songbirds, Zatorre says.\u003c/p>\n\u003cp>Studies show that their brains decode sounds using two separate measures. One assesses how quickly a sound fluctuates over time. The other detects the frequencies in a sound.\u003c/p>\n\u003cp>“We thought, hey, maybe that’s what the human brain does too,” Zatorre says.\u003c/p>\n\u003cp>To find out, the team got help from a composer and a soprano. And they created lots of a cappella songs that were just a few seconds long.\u003c/p>\n\u003cp>Then the team used a computer to alter the recordings. Sometimes they removed information about sound frequencies, which produced a breathy voice a bit like Darth Vader’s.\u003c/p>\n\u003cp>“The speech is perfectly comprehensible, but all the melody is essentially gone,” Zatorre says.\u003c/p>\n\u003cp>Other songs were altered to remove information about how the sound changed over time. That sounds a bit like someone humming a sentence rather than singing the words.\u003c/p>\n\u003cp>“You can still perceive the melody but you can no longer tell what the speech is,” Zatorre says.\u003c/p>\n\u003cp>Armed with hundreds of altered song fragments, recorded in both English and French, the team set out to learn how a human brain would process these sounds.\u003c/p>\n\u003cp>The scientists played them for 49 people while an \u003ca href=\"http://fmri.ucsd.edu/Research/whatisfmri.html\" target=\"_blank\" rel=\"noopener noreferrer\">fMRI scanner\u003c/a> monitored brain activity. And it turned out that the people decoded sounds the same way songbirds do, by separating a sound’s time-related elements from the frequencies it contains, and processing the information using two different groups of specialized brain cells.\u003c/p>\n\u003cp>As a result, when we hear a song, it engages both hemispheres of the brain in a way that’s different than either speech or music alone, Zatorre says.\u003c/p>\n\u003cp>“That might be why [songs are] especially prominent and especially meaningful” in cultures around the globe, Zatorre says.\u003c/p>\n\u003cp>But it’s not just songs that require both hemispheres working together, Sammler says. That process is necessary to fully experience any type of sound.\u003c/p>\n\u003cp>Also, the brain circuits involved probably existed before human language appeared, Sammer says.\u003c/p>\n\u003cp>“Charles Darwin said the languages that we use today emerged from something that was a song-like proto-language,” she says.\u003c/p>\n\u003cp>Now that there’s good evidence a song takes two separate paths through the brain, researchers will need to figure out how the brain combines those twin streams of information into a coherent listening experience, Sammler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We perceive the song as a song, right?” she says. “It’s one thing and it’s not like a speech stream or a melody stream.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Brain+Teases+Apart+A+Song%27s+Words+And+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A song fuses words and music. Yet the human brain can instantly separate a song’s lyrics from its melody.\u003c/p>\n\u003cp>And now scientists think they know how this happens.\u003c/p>\n\u003cp>A team led by researchers at McGill University \u003ca href=\"https://science.sciencemag.org/cgi/doi/10.1126/science.aaz3468\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in \u003cem>Science\u003c/em> Thursday that song sounds are processed simultaneously by two separate brain areas—one in the left hemisphere and one in the right.\u003c/p>\n\u003cp>“On the left side you can decode the speech content but not the melodic content, and on the right side you can decode the melodic content but not the speech content,” says \u003ca href=\"https://www.mcgill.ca/neuro/robert-zatorre-phd\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Zatorre\u003c/a>, a professor at McGill University’s Montreal Neurological Institute.\u003c/p>\n\u003cp>The finding explains something doctors have observed in stroke patients for decades, says \u003ca href=\"https://www.mpg.de/914530/Daniela_Sammler\" target=\"_blank\" rel=\"noopener noreferrer\">Daniela Sammler\u003c/a>, a researcher at the Max Planck Institute for Cognition and Neurosciences in Leipzig, Germany, who was not involved in the study.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you have a stroke in the left hemisphere you are much more likely to have a language impairment than if you have a stroke in the right hemisphere,” Sammler says. Moreover, brain damage to certain areas of the right hemisphere can affect a person’s ability to perceive music.\u003c/p>\n\u003cp>The study was inspired by songbirds, Zatorre says.\u003c/p>\n\u003cp>Studies show that their brains decode sounds using two separate measures. One assesses how quickly a sound fluctuates over time. The other detects the frequencies in a sound.\u003c/p>\n\u003cp>“We thought, hey, maybe that’s what the human brain does too,” Zatorre says.\u003c/p>\n\u003cp>To find out, the team got help from a composer and a soprano. And they created lots of a cappella songs that were just a few seconds long.\u003c/p>\n\u003cp>Then the team used a computer to alter the recordings. Sometimes they removed information about sound frequencies, which produced a breathy voice a bit like Darth Vader’s.\u003c/p>\n\u003cp>“The speech is perfectly comprehensible, but all the melody is essentially gone,” Zatorre says.\u003c/p>\n\u003cp>Other songs were altered to remove information about how the sound changed over time. That sounds a bit like someone humming a sentence rather than singing the words.\u003c/p>\n\u003cp>“You can still perceive the melody but you can no longer tell what the speech is,” Zatorre says.\u003c/p>\n\u003cp>Armed with hundreds of altered song fragments, recorded in both English and French, the team set out to learn how a human brain would process these sounds.\u003c/p>\n\u003cp>The scientists played them for 49 people while an \u003ca href=\"http://fmri.ucsd.edu/Research/whatisfmri.html\" target=\"_blank\" rel=\"noopener noreferrer\">fMRI scanner\u003c/a> monitored brain activity. And it turned out that the people decoded sounds the same way songbirds do, by separating a sound’s time-related elements from the frequencies it contains, and processing the information using two different groups of specialized brain cells.\u003c/p>\n\u003cp>As a result, when we hear a song, it engages both hemispheres of the brain in a way that’s different than either speech or music alone, Zatorre says.\u003c/p>\n\u003cp>“That might be why [songs are] especially prominent and especially meaningful” in cultures around the globe, Zatorre says.\u003c/p>\n\u003cp>But it’s not just songs that require both hemispheres working together, Sammler says. That process is necessary to fully experience any type of sound.\u003c/p>\n\u003cp>Also, the brain circuits involved probably existed before human language appeared, Sammer says.\u003c/p>\n\u003cp>“Charles Darwin said the languages that we use today emerged from something that was a song-like proto-language,” she says.\u003c/p>\n\u003cp>Now that there’s good evidence a song takes two separate paths through the brain, researchers will need to figure out how the brain combines those twin streams of information into a coherent listening experience, Sammler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We perceive the song as a song, right?” she says. “It’s one thing and it’s not like a speech stream or a melody stream.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Brain+Teases+Apart+A+Song%27s+Words+And+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Invisible Man': When Danger Is Present — And Clear",
"headTitle": "‘The Invisible Man’: When Danger Is Present — And Clear | KQED",
"content": "\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \u003c/p>\n\u003cp>https://youtu.be/dSBsNeYqh-k\u003c/p>\n\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dSBsNeYqh-k'\n title='//www.youtube.com/embed/dSBsNeYqh-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kids, this comic is for you.\u003c/p>\n\u003cp>It’s based on a radio story that NPR education reporter Cory Turner did. He asked some experts what kids might want to know about the new coronavirus discovered in China.\u003c/p>\n\u003cp>To make this comic, we’ve used his interviews with \u003ca href=\"https://socialwork.illinois.edu/faculty-staff/tara-powell/?doing_wp_cron=1582845301.1810801029205322265625\">Tara Powell\u003c/a> at the University of Illinois School of Social Work, \u003ca href=\"https://www.medschool.lsuhsc.edu/Pediatrics/faculty_detail.aspx?name=osofsky_joy\">Joy Osofsky\u003c/a> at the LSU Health Sciences Center in New Orleans and\u003ca href=\"https://www.linkedin.com/in/krystal-lewis-011a7227/\"> Krystal Lewis\u003c/a> at the National Institute of Mental Health.\u003c/p>\n\u003cp>Print and fold \u003ca href=\"https://drive.google.com/file/d/1PYrKYfOBa4p-azI5z_46KJMbi1FSmL_Y/view?usp=sharing\">\u003cstrong>a zine version of this comic\u003c/strong>\u003c/a> here. Here are \u003ca href=\"https://www.youtube.com/watch?v=Ixqr9e3wCxI\">\u003cstrong>directions\u003c/strong>\u003c/a> on how to fold it. To read this comic in Chinese, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/06/811752935/\">\u003cstrong>click here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13876201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_1_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-160x350.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-768x1680.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876203 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_3_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876204 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_4_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876205 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_5_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-160x450.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-768x2160.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876206 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-160x264.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-768x1267.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Malaka Gharib is an NPR editor and the author and illustrator of \u003c/em>\u003ca href=\"https://www.penguinrandomhouse.com/books/575400/i-was-their-american-dream-by-malaka-gharib/\">I Was Their American Dream: A Graphic Memoir\u003c/a>, \u003cem>about being first-generation Filipino Egyptian American. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "You may have heard the word \"coronavirus\" online or on TV. You probably have a lot of questions. Check out our comic to get some answers — and print out a zine version at home.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kids, this comic is for you.\u003c/p>\n\u003cp>It’s based on a radio story that NPR education reporter Cory Turner did. He asked some experts what kids might want to know about the new coronavirus discovered in China.\u003c/p>\n\u003cp>To make this comic, we’ve used his interviews with \u003ca href=\"https://socialwork.illinois.edu/faculty-staff/tara-powell/?doing_wp_cron=1582845301.1810801029205322265625\">Tara Powell\u003c/a> at the University of Illinois School of Social Work, \u003ca href=\"https://www.medschool.lsuhsc.edu/Pediatrics/faculty_detail.aspx?name=osofsky_joy\">Joy Osofsky\u003c/a> at the LSU Health Sciences Center in New Orleans and\u003ca href=\"https://www.linkedin.com/in/krystal-lewis-011a7227/\"> Krystal Lewis\u003c/a> at the National Institute of Mental Health.\u003c/p>\n\u003cp>Print and fold \u003ca href=\"https://drive.google.com/file/d/1PYrKYfOBa4p-azI5z_46KJMbi1FSmL_Y/view?usp=sharing\">\u003cstrong>a zine version of this comic\u003c/strong>\u003c/a> here. Here are \u003ca href=\"https://www.youtube.com/watch?v=Ixqr9e3wCxI\">\u003cstrong>directions\u003c/strong>\u003c/a> on how to fold it. To read this comic in Chinese, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/06/811752935/\">\u003cstrong>click here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13876201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_1_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-160x350.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-768x1680.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876203 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_3_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876204 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_4_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876205 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_5_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-160x450.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-768x2160.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876206 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-160x264.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-768x1267.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Malaka Gharib is an NPR editor and the author and illustrator of \u003c/em>\u003ca href=\"https://www.penguinrandomhouse.com/books/575400/i-was-their-american-dream-by-malaka-gharib/\">I Was Their American Dream: A Graphic Memoir\u003c/a>, \u003cem>about being first-generation Filipino Egyptian American. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "opera-union-says-placido-domingo-engaged-in-inappropriate-activity",
"title": "Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity'",
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"content": "\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Katherine Johnson, \u003ca href=\"https://www.nasa.gov/content/katherine-johnson-biography\" target=\"_blank\" rel=\"noopener noreferrer\">a mathematician\u003c/a> who was one of NASA’s human “computers” and an unsung hero of the space agency’s early days, died Monday. She calculated the flight path for America’s first crewed space mission and moon landing, and she was among the women profiled in the book and movie \u003cem>Hidden Figures\u003c/em>. She was 101.\u003c/p>\n\u003cp>Her death was announced by NASA Administrator \u003ca href=\"https://twitter.com/JimBridenstine/status/1231946829962584065?r\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Bridenstine\u003c/a>.\u003c/p>\n\u003cp>“The NASA family will never forget Katherine Johnson’s courage and the milestones we could not have reached without her,” Bridenstine wrote on Twitter. “Her story and her grace continue to inspire the world.”\u003c/p>\n\u003cp>Johnson was born in West Virginia in 1918. As a young girl, she was fascinated by numbers and it was clear early on she was gifted. She graduated from high school at 14 and finished college with degrees in math and French from historically black West Virginia State College. She initially became a teacher but, in 1953, took a job at the National Advisory Committee for Aeronautics—the agency that would become NASA. “Everybody there was doing research,” she recalled in later years, “You had a mission and you worked on it.”\u003c/p>\n\u003cp>She was one of a handful of African American women hired to do computing in the guidance and navigation department at Langley’s Research Center in Virginia. The women battled both racism and sexism. \u003ca href=\"https://www.youtube.com/watch?v=r8gJqKyIGhE\" target=\"_blank\" rel=\"noopener noreferrer\">As Johnson told public television station WHRO\u003c/a> in 2011, none of it held her back: “I just happened to be working with guys and when they had briefings, I asked permission to go. And they said, ‘Well, the girls don’t usually go.’ and I said, ‘Well, is there a law?’ They said, ‘No.’ So then my boss said, ‘Let her go.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And she never stopped going, using her extraordinary computing skills to move up the NASA chain. She hand-computed the trajectory of the \u003ca href=\"https://www.nasa.gov/mission_pages/mercury/missions/freedom7.html\" target=\"_blank\" rel=\"noopener noreferrer\">first manned launch\u003c/a> and continued to be important to the astronauts.\u003c/p>\n\u003cfigure id=\"attachment_13875408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-800x449.png\" alt=\"Johnson at her desk at NASA's Langley Research Center with a globe, or "Celestial Training Device."\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed.png 1095w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnson at her desk at NASA’s Langley Research Center with a globe, or “Celestial Training Device.” \u003ccite>(NASA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before John Glenn flew Friendship 7 in 1962, becoming the first American to orbit Earth, he asked Johnson to double-check the math of the “new electronic” computations. “But when he got ready to go, he said, ‘Call her. And if she says the computer is right, I’ll take it,’ ” she recalled.\u003c/p>\n\u003cp>Margot Lee Shetterly wrote the book \u003cem>Hidden Figures\u003c/em> and said that Glenn considered Johnson’s calculations part of his preflight checklist. “So the astronaut who became a hero looked to this black woman in the still-segregated South at the time as one of the key parts of making sure his mission would be a success,” \u003ca href=\"http://www.npr.org/2016/09/25/495179824/hidden-figures-how-black-women-did-the-math-that-put-men-on-the-moon\" target=\"_blank\" rel=\"noopener noreferrer\">she told NPR\u003c/a> in 2016.\u003c/p>\n\u003cp>Johnson did calculations for \u003ca href=\"https://www.hq.nasa.gov/alsj/a11/a11fltpln_final_reformat.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">the first moon landing\u003c/a>, and later for the space shuttle program. President Barack Obama awarded her the nation’s highest civilian honor, the Presidential Medal of Freedom, at a 2015 \u003ca href=\"https://www.c-span.org/video/?401223-1/presidential-medal-freedom-ceremony\" target=\"_blank\" rel=\"noopener noreferrer\">White House ceremony\u003c/a>. “In her 33 years at NASA, Katherine was a pioneer who broke the barriers of race and gender, showing generations of young people that everyone can excel in math and science, and reach for the stars,” Obama said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnson’s accomplishments continued to be highlighted later in life. She got a standing ovation at the Academy Awards in 2017 and NASA \u003ca href=\"https://www.nasa.gov/feature/langley/computational-facility-named-in-tribute-to-nasa-langley-math-master-katherine-johnson\" target=\"_blank\" rel=\"noopener noreferrer\">named\u003c/a> the Computational Research Facility in her honor.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Katherine+Johnson%2C+NASA+Mathematician+And+An+Inspiration+For+%27Hidden+Figures%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Katherine Johnson, \u003ca href=\"https://www.nasa.gov/content/katherine-johnson-biography\" target=\"_blank\" rel=\"noopener noreferrer\">a mathematician\u003c/a> who was one of NASA’s human “computers” and an unsung hero of the space agency’s early days, died Monday. She calculated the flight path for America’s first crewed space mission and moon landing, and she was among the women profiled in the book and movie \u003cem>Hidden Figures\u003c/em>. She was 101.\u003c/p>\n\u003cp>Her death was announced by NASA Administrator \u003ca href=\"https://twitter.com/JimBridenstine/status/1231946829962584065?r\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Bridenstine\u003c/a>.\u003c/p>\n\u003cp>“The NASA family will never forget Katherine Johnson’s courage and the milestones we could not have reached without her,” Bridenstine wrote on Twitter. “Her story and her grace continue to inspire the world.”\u003c/p>\n\u003cp>Johnson was born in West Virginia in 1918. As a young girl, she was fascinated by numbers and it was clear early on she was gifted. She graduated from high school at 14 and finished college with degrees in math and French from historically black West Virginia State College. She initially became a teacher but, in 1953, took a job at the National Advisory Committee for Aeronautics—the agency that would become NASA. “Everybody there was doing research,” she recalled in later years, “You had a mission and you worked on it.”\u003c/p>\n\u003cp>She was one of a handful of African American women hired to do computing in the guidance and navigation department at Langley’s Research Center in Virginia. The women battled both racism and sexism. \u003ca href=\"https://www.youtube.com/watch?v=r8gJqKyIGhE\" target=\"_blank\" rel=\"noopener noreferrer\">As Johnson told public television station WHRO\u003c/a> in 2011, none of it held her back: “I just happened to be working with guys and when they had briefings, I asked permission to go. And they said, ‘Well, the girls don’t usually go.’ and I said, ‘Well, is there a law?’ They said, ‘No.’ So then my boss said, ‘Let her go.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And she never stopped going, using her extraordinary computing skills to move up the NASA chain. She hand-computed the trajectory of the \u003ca href=\"https://www.nasa.gov/mission_pages/mercury/missions/freedom7.html\" target=\"_blank\" rel=\"noopener noreferrer\">first manned launch\u003c/a> and continued to be important to the astronauts.\u003c/p>\n\u003cfigure id=\"attachment_13875408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-800x449.png\" alt=\"Johnson at her desk at NASA's Langley Research Center with a globe, or "Celestial Training Device."\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/katherine_johnson_john_glenn_wide-049cc1c14580bf2fa763330b7b0893ae82b80aed.png 1095w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnson at her desk at NASA’s Langley Research Center with a globe, or “Celestial Training Device.” \u003ccite>(NASA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before John Glenn flew Friendship 7 in 1962, becoming the first American to orbit Earth, he asked Johnson to double-check the math of the “new electronic” computations. “But when he got ready to go, he said, ‘Call her. And if she says the computer is right, I’ll take it,’ ” she recalled.\u003c/p>\n\u003cp>Margot Lee Shetterly wrote the book \u003cem>Hidden Figures\u003c/em> and said that Glenn considered Johnson’s calculations part of his preflight checklist. “So the astronaut who became a hero looked to this black woman in the still-segregated South at the time as one of the key parts of making sure his mission would be a success,” \u003ca href=\"http://www.npr.org/2016/09/25/495179824/hidden-figures-how-black-women-did-the-math-that-put-men-on-the-moon\" target=\"_blank\" rel=\"noopener noreferrer\">she told NPR\u003c/a> in 2016.\u003c/p>\n\u003cp>Johnson did calculations for \u003ca href=\"https://www.hq.nasa.gov/alsj/a11/a11fltpln_final_reformat.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">the first moon landing\u003c/a>, and later for the space shuttle program. President Barack Obama awarded her the nation’s highest civilian honor, the Presidential Medal of Freedom, at a 2015 \u003ca href=\"https://www.c-span.org/video/?401223-1/presidential-medal-freedom-ceremony\" target=\"_blank\" rel=\"noopener noreferrer\">White House ceremony\u003c/a>. “In her 33 years at NASA, Katherine was a pioneer who broke the barriers of race and gender, showing generations of young people that everyone can excel in math and science, and reach for the stars,” Obama said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnson’s accomplishments continued to be highlighted later in life. She got a standing ovation at the Academy Awards in 2017 and NASA \u003ca href=\"https://www.nasa.gov/feature/langley/computational-facility-named-in-tribute-to-nasa-langley-math-master-katherine-johnson\" target=\"_blank\" rel=\"noopener noreferrer\">named\u003c/a> the Computational Research Facility in her honor.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Katherine+Johnson%2C+NASA+Mathematician+And+An+Inspiration+For+%27Hidden+Figures%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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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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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"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",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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