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"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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"title": "In 'Once Were Brothers,' The Band's Earliest Years Shine",
"headTitle": "In ‘Once Were Brothers,’ The Band’s Earliest Years Shine | KQED",
"content": "\u003cp>The Band generated mythic status from the start. Crashing on the scene as Bob Dylan’s anonymous-but-not-for-long backup band on his controversial and thrilling electrified tours of 1965-66, the group emerged fully formed, capable of both intense and experimentalist noise and tight, basic rock and roll. \u003c/p>\n\u003cp>The Band’s first album, \u003cem>Music From Big Pink\u003c/em> (1968), was embraced by musicians and critics and seen as the harbinger of a new kind of post-psychedelic roots music. That album and their second, \u003cem>The Band\u003c/em> (1969), were not big sellers, but gained huge respect from critics and musicians as the group built up a passionate fan following. In 1975, critic Greil Marcus described them in \u003cem>Mystery Train: Images of America in Rock and Roll \u003c/em>as “committed to the very idea of America: complicated, dangerous, and alive. Their music gave us a sure sense that the country was richer than we had guessed; that it has possibilities we were only beginning to perceive.” \u003c/p>\n\u003cp>[aside postID='arts_13841271' label='More Dylan']\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Band generated mythic status from the start. Crashing on the scene as Bob Dylan’s anonymous-but-not-for-long backup band on his controversial and thrilling electrified tours of 1965-66, the group emerged fully formed, capable of both intense and experimentalist noise and tight, basic rock and roll. \u003c/p>\n\u003cp>The Band’s first album, \u003cem>Music From Big Pink\u003c/em> (1968), was embraced by musicians and critics and seen as the harbinger of a new kind of post-psychedelic roots music. That album and their second, \u003cem>The Band\u003c/em> (1969), were not big sellers, but gained huge respect from critics and musicians as the group built up a passionate fan following. In 1975, critic Greil Marcus described them in \u003cem>Mystery Train: Images of America in Rock and Roll \u003c/em>as “committed to the very idea of America: complicated, dangerous, and alive. Their music gave us a sure sense that the country was richer than we had guessed; that it has possibilities we were only beginning to perceive.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been nearly a decade since actor Claire Danes first appeared as CIA agent Carrie Mathison on the Showtime series \u003cem>Homeland\u003c/em>. Now that the show is in its eighth and final season, Danes is feeling reflective about its run.\u003c/p>\n\u003cp>“I started the show as a barely married person, and I’m leaving the show as a mother of two. [We] just celebrated our ten-year wedding anniversary,” she says. “It’s going to be a while before I can understand and I can appreciate what this is all meant to me … More than anything, I’m filled with gratitude.”\u003c/p>\n\u003cp>On \u003cem>Homeland, \u003c/em>she plays a brilliant agent who is sometimes subject to erratic behavior because she has bipolar disorder. The series initially focused on fighting terrorism, but more recently \u003cem>Homeland \u003c/em>has dealt with Russian meddling in American politics, and a conspiracy within the American government to take down the president.\u003c/p>\n\u003cp>“Every year before the writers start designing the season, we spend a week in D.C. talking to people in the clandestine services and journalists and political insiders. We kind of take a deep dive into what’s churning and what’s going to be especially relevant in a year’s time when the show is going to air,” Danes says. “Even so, there’s always some kind of inexplicable force at play that creates some mirroring that there’s no way we could have even anticipated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mXFZ4fEPRJ8\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On filming \u003c/strong>\u003cem>\u003cstrong>Homeland \u003c/strong>\u003c/em>\u003cstrong>through both of her pregnancies \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point [when] I was pregnant with Cyrus, we were shooting the second season. I was about seven months pregnant. It was a night shoot. We were shooting in some old sewage factory, some kind of icky, icky place. I had been kidnapped by the baddy of the season, Abu Nazir. And I was handcuffed to a pipe. It was 4 in the morning. I was so tired. And I just thought, I don’t think this is safe. This is exactly the opposite of where I want to be. …\u003c/p>\n\u003cp>And then with Rowan, five years later, I was filming [during] the first and second trimester … so then the challenge was just being exhausted all the time and nauseous, and I kept falling asleep in between takes, but I couldn’t tell anybody why. My dresser, who’s this really lovely woman, she had crocheted a bag for me, and I fell asleep on this crocheted bag, and it looked like I had third-degree burns on my face. They put a hair dryer to it. We had to wait for about 20 minutes before we could film. I just thought: Oh my God, do they think I have a substance abuse issue? I was really paranoid about that, but I was just so exhausted and I just wanted to scream, “I’m pregnant!”\u003c/p>\n\u003cp>\u003cstrong>On her breakout role in \u003c/strong>\u003cstrong>\u003cem>My So-Called Life\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I remember just being amazed by the quality of the writing, that somebody out there had been able to articulate what I was going through so, so perfectly. I hadn’t encountered that before. So it was just a profound relief and I understood it—and I felt understood by it. I think I was really lucky that the people making that show had the sensibility that they had, that they were really interested in telling a story that was really confrontingly honest.\u003c/p>\n\u003cp>It’s expensive to hire an actual kid. Usually it’s an older person who can pass for a teenager, because the union is very strict about child protection. Every kid has to go to school for three hours a day. They can only film for 10 hours a day. So it’s a real investment. But I think they were very keen to protect the veracity of the show and have an actual high school person render what it was to be in high school.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X7zhywDFux0\u003c/p>\n\u003cp>\u003cstrong>On the difficulty of navigating adolescence while also being on TV\u003c/strong>\u003c/p>\n\u003cp>Adolescence is a difficult time, full stop. In some ways, I think I ran into acting because I was struggling emotionally just with that reality. I really had a hard time in junior high school and was bullied and I just hated the social dynamics. I got to reflect on that in such an incredible way with \u003cem>My So-Called Life\u003c/em>. And then I was kind of buffered from the actual experience of it, because I was suddenly in a world full of adults who were much more humane. … But at the same time, I was also not having to develop these social strategies or techniques. My development emotionally was a little stunted, and that did catch up with me eventually. That was a major reason why I chose to stop acting for a time and I went to college to just give myself a chance to catch up with some of that developmental work, and just hang out with kids my own age in a safe place.\u003c/p>\n\u003cp>\u003cstrong>On experiencing\u003c/strong> \u003cstrong>terrifying visions of ghosts and gargoyles as a kid \u003c/strong>\u003c/p>\n\u003cp>I probably had a very active imagination and was learning how to wrangle it, to differentiate the real from the unreal, and that takes discipline. I think I was still just developing it. I also think maybe there was a kind of burgeoning OCD, because a lot of the behavior was ritualistic. These creatures that I “saw” would to talk to me and tell me to do things like … hold a contorted position for 20 minutes or something. But I think there were some overlaps there, and it didn’t take long to undo it. As soon as I found myself in a therapist’s office at 6 [years old], I was like, “Oh, I think I have a problem.” And as soon as I became conscious of it, it almost immediately started to dissipate.\u003c/p>\n\u003cp>\u003cstrong>On turning down a part on the soap opera \u003c/strong>\u003cstrong>\u003cem>One Life to Live\u003c/em>\u003c/strong>\u003cstrong> when she was 12 \u003c/strong>\u003c/p>\n\u003cp>I was worried about selling out, and I knew that I was malleable as a performer, that I was still very new at this and kind of fungible and I didn’t want to develop bad habits, which I might do on a soap opera. So it was self-protective. That sounds so precocious. I haven’t had as much integrity, ever! I remember my agent was rather surprised that that was such a clear pass for me. I can’t account for these things. They’re funny to me now, especially now that I have kids, because I just think of age so differently. My boys seem so tiny and to think that in two years time, Cyrus might be thinking about these ideas is incomprehensible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley 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/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Claire+Danes+Reflects+%27With+Gratitude%27+On+Her+Life-Changing+%27Homeland%27+Tenure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been nearly a decade since actor Claire Danes first appeared as CIA agent Carrie Mathison on the Showtime series \u003cem>Homeland\u003c/em>. Now that the show is in its eighth and final season, Danes is feeling reflective about its run.\u003c/p>\n\u003cp>“I started the show as a barely married person, and I’m leaving the show as a mother of two. [We] just celebrated our ten-year wedding anniversary,” she says. “It’s going to be a while before I can understand and I can appreciate what this is all meant to me … More than anything, I’m filled with gratitude.”\u003c/p>\n\u003cp>On \u003cem>Homeland, \u003c/em>she plays a brilliant agent who is sometimes subject to erratic behavior because she has bipolar disorder. The series initially focused on fighting terrorism, but more recently \u003cem>Homeland \u003c/em>has dealt with Russian meddling in American politics, and a conspiracy within the American government to take down the president.\u003c/p>\n\u003cp>“Every year before the writers start designing the season, we spend a week in D.C. talking to people in the clandestine services and journalists and political insiders. We kind of take a deep dive into what’s churning and what’s going to be especially relevant in a year’s time when the show is going to air,” Danes says. “Even so, there’s always some kind of inexplicable force at play that creates some mirroring that there’s no way we could have even anticipated.”\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/mXFZ4fEPRJ8'\n title='//www.youtube.com/embed/mXFZ4fEPRJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On filming \u003c/strong>\u003cem>\u003cstrong>Homeland \u003c/strong>\u003c/em>\u003cstrong>through both of her pregnancies \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point [when] I was pregnant with Cyrus, we were shooting the second season. I was about seven months pregnant. It was a night shoot. We were shooting in some old sewage factory, some kind of icky, icky place. I had been kidnapped by the baddy of the season, Abu Nazir. And I was handcuffed to a pipe. It was 4 in the morning. I was so tired. And I just thought, I don’t think this is safe. This is exactly the opposite of where I want to be. …\u003c/p>\n\u003cp>And then with Rowan, five years later, I was filming [during] the first and second trimester … so then the challenge was just being exhausted all the time and nauseous, and I kept falling asleep in between takes, but I couldn’t tell anybody why. My dresser, who’s this really lovely woman, she had crocheted a bag for me, and I fell asleep on this crocheted bag, and it looked like I had third-degree burns on my face. They put a hair dryer to it. We had to wait for about 20 minutes before we could film. I just thought: Oh my God, do they think I have a substance abuse issue? I was really paranoid about that, but I was just so exhausted and I just wanted to scream, “I’m pregnant!”\u003c/p>\n\u003cp>\u003cstrong>On her breakout role in \u003c/strong>\u003cstrong>\u003cem>My So-Called Life\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I remember just being amazed by the quality of the writing, that somebody out there had been able to articulate what I was going through so, so perfectly. I hadn’t encountered that before. So it was just a profound relief and I understood it—and I felt understood by it. I think I was really lucky that the people making that show had the sensibility that they had, that they were really interested in telling a story that was really confrontingly honest.\u003c/p>\n\u003cp>It’s expensive to hire an actual kid. Usually it’s an older person who can pass for a teenager, because the union is very strict about child protection. Every kid has to go to school for three hours a day. They can only film for 10 hours a day. So it’s a real investment. But I think they were very keen to protect the veracity of the show and have an actual high school person render what it was to be in high school.\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/X7zhywDFux0'\n title='//www.youtube.com/embed/X7zhywDFux0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the difficulty of navigating adolescence while also being on TV\u003c/strong>\u003c/p>\n\u003cp>Adolescence is a difficult time, full stop. In some ways, I think I ran into acting because I was struggling emotionally just with that reality. I really had a hard time in junior high school and was bullied and I just hated the social dynamics. I got to reflect on that in such an incredible way with \u003cem>My So-Called Life\u003c/em>. And then I was kind of buffered from the actual experience of it, because I was suddenly in a world full of adults who were much more humane. … But at the same time, I was also not having to develop these social strategies or techniques. My development emotionally was a little stunted, and that did catch up with me eventually. That was a major reason why I chose to stop acting for a time and I went to college to just give myself a chance to catch up with some of that developmental work, and just hang out with kids my own age in a safe place.\u003c/p>\n\u003cp>\u003cstrong>On experiencing\u003c/strong> \u003cstrong>terrifying visions of ghosts and gargoyles as a kid \u003c/strong>\u003c/p>\n\u003cp>I probably had a very active imagination and was learning how to wrangle it, to differentiate the real from the unreal, and that takes discipline. I think I was still just developing it. I also think maybe there was a kind of burgeoning OCD, because a lot of the behavior was ritualistic. These creatures that I “saw” would to talk to me and tell me to do things like … hold a contorted position for 20 minutes or something. But I think there were some overlaps there, and it didn’t take long to undo it. As soon as I found myself in a therapist’s office at 6 [years old], I was like, “Oh, I think I have a problem.” And as soon as I became conscious of it, it almost immediately started to dissipate.\u003c/p>\n\u003cp>\u003cstrong>On turning down a part on the soap opera \u003c/strong>\u003cstrong>\u003cem>One Life to Live\u003c/em>\u003c/strong>\u003cstrong> when she was 12 \u003c/strong>\u003c/p>\n\u003cp>I was worried about selling out, and I knew that I was malleable as a performer, that I was still very new at this and kind of fungible and I didn’t want to develop bad habits, which I might do on a soap opera. So it was self-protective. That sounds so precocious. I haven’t had as much integrity, ever! I remember my agent was rather surprised that that was such a clear pass for me. I can’t account for these things. They’re funny to me now, especially now that I have kids, because I just think of age so differently. 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"title": "New 'Emma' is a Frosted Cupcake Come to Life (in a Good Way)",
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"content": "\u003cp>The latest adaptation of Jane Austen’s \u003cem>Emma \u003c/em>is as handsome, clever and rich as its famous heroine—and I mean “rich” in the caloric sense, as well. I wanted to snack on every pastel-hued surface of Kave Quinn’s production design, which suggests nothing less than a frosted cupcake come to life—a feast of lace bonnets and high collars, gilded frames and glass chandeliers.\u003c/p>\n\u003cp>Happily, all this decorative excess serves a purpose. This is the first feature from the photographer and music-video director Autumn de Wilde, and while she has an obvious eye for beauty, she has an equally sharp eye for the absurd. There’s a touch of \u003ca href=\"https://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Anderson\u003c/a> archness to her aesthetic, the way her camera both flatters and mocks the cavernous drawing rooms and sunny meadows of the 19th-century English village of Highbury. De Wilde knows that something as simple as a symmetrically framed shot of her characters can serve as a silent punchline. Her style is an ideal marriage of visual extravagance and satirical distance.\u003c/p>\n\u003cp>Speaking of ideal marriages: Emma Woodhouse, the 21-year-old queen bee of Highbury, remains as irrepressible a matchmaker as ever. Anya Taylor-Joy, the actress with the piercing gaze who came to prominence in horror movies like \u003ca href=\"https://www.npr.org/2016/02/18/467070428/a-banished-family-fights-its-demons-in-a-puritanical-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Witch\u003c/em>\u003c/a>, plays her as a somewhat chillier, more aloof heroine than, say, Gwyneth Paltrow did in 1996. But if anything, that only makes it all the more moving to see Emma’s porcelain-like facade crack as she realizes that her instincts as a judge of character were not as shrewd as she thought.\u003c/p>\n\u003cp>Fortunately, her longtime family friend Mr. Knightley is there to scold and correct her at every turn. The actor and musician Johnny Flynn, so memorable in the psychological thriller \u003ca href=\"https://www.npr.org/2018/05/10/609756122/in-the-nerve-wracking-thriller-beast-a-dark-beauty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beast\u003c/em>\u003c/a>, brings a scruffy rock-star edge to the role of this impeccably well-mannered gentleman. The two of them spar furiously over the matter of Emma’s friend Harriet Smith, whom she’s trying to match up with the local vicar, Mr. Elton — a very funny Josh O’Connor, whom you may recognize as Prince Charles on \u003cem>The Crown\u003c/em>. But Emma’s plans have a way of backfiring: Too late she realizes that the foolish Mr. Elton has fallen in love with her, not Harriet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsOwj0PR5Sk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The late English mystery writer \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\" rel=\"noopener noreferrer\">P.D. James\u003c/a> once wrote an essay championing \u003cem>Emma \u003c/em>as not just a great piece of literature but also a great detective story—a series of deceptions and misunderstandings so cunningly crafted that both Emma and the reader are led up the garden path. By the end, order is happily restored and the truth is shown to have been hiding in plain sight, as Emma realizes how badly she misjudged everyone’s romantic motivations, including her own.\u003c/p>\n\u003cp>If you’ve read the book or seen an earlier adaptation, you won’t be surprised by any of these revelations. The script, by the Booker Prize-winning novelist Eleanor Catton, is fairly faithful to the story and no less satisfying for it. This Emma isn’t an audacious reinterpretation like \u003ca href=\"https://www.npr.org/2017/11/16/564579012/greta-gerwig-explores-mother-daughter-love-and-angst-in-lady-bird\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’\u003c/a>s \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took significant liberties with a similarly beloved novel.\u003c/p>\n\u003cp>Okay, so some Austen purists might take issue with the early shot of Mr. Knightley’s naked backside as a servant helps him dress, or a later scene when Emma briefly lifts her skirt to warm her rear end by the fireplace. But I liked these moments of earthy humor. It’s de Wilde’s way of puncturing her characters’ pretensions, as if to remind us that they’re flesh-and-blood human beings beneath all that stately diction and period finery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the effervescent comedy of the movie’s first half, the second is basically one emotional knockout punch after another, aided by a musical score that deftly balances whimsy and melancholy. It helps that de Wilde’s actors are so good at finding fresh nuances even in this timeless material. I loved every hilarious moment of Miranda Hart’s performance as Miss Bates, the village chatterbox whose stories bore Emma to no end—but who turns out to have the biggest heart in Highbury. Mia Goth is especially lovely as the naive, eager-to-please Harriet. And it should come as no surprise that the great Bill Nighy steals his every scene as Emma’s endearing hypochondriac of a father. He’s a perfect mascot for the movie—impeccably dressed, knowingly ridiculous and awfully hard to resist.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Emma%27+Is+A+Frosted+Cupcake+Come+To+Life+%28In+A+Good+Way%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest adaptation of Jane Austen’s \u003cem>Emma \u003c/em>is as handsome, clever and rich as its famous heroine—and I mean “rich” in the caloric sense, as well. I wanted to snack on every pastel-hued surface of Kave Quinn’s production design, which suggests nothing less than a frosted cupcake come to life—a feast of lace bonnets and high collars, gilded frames and glass chandeliers.\u003c/p>\n\u003cp>Happily, all this decorative excess serves a purpose. This is the first feature from the photographer and music-video director Autumn de Wilde, and while she has an obvious eye for beauty, she has an equally sharp eye for the absurd. There’s a touch of \u003ca href=\"https://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Anderson\u003c/a> archness to her aesthetic, the way her camera both flatters and mocks the cavernous drawing rooms and sunny meadows of the 19th-century English village of Highbury. De Wilde knows that something as simple as a symmetrically framed shot of her characters can serve as a silent punchline. Her style is an ideal marriage of visual extravagance and satirical distance.\u003c/p>\n\u003cp>Speaking of ideal marriages: Emma Woodhouse, the 21-year-old queen bee of Highbury, remains as irrepressible a matchmaker as ever. Anya Taylor-Joy, the actress with the piercing gaze who came to prominence in horror movies like \u003ca href=\"https://www.npr.org/2016/02/18/467070428/a-banished-family-fights-its-demons-in-a-puritanical-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Witch\u003c/em>\u003c/a>, plays her as a somewhat chillier, more aloof heroine than, say, Gwyneth Paltrow did in 1996. But if anything, that only makes it all the more moving to see Emma’s porcelain-like facade crack as she realizes that her instincts as a judge of character were not as shrewd as she thought.\u003c/p>\n\u003cp>Fortunately, her longtime family friend Mr. Knightley is there to scold and correct her at every turn. The actor and musician Johnny Flynn, so memorable in the psychological thriller \u003ca href=\"https://www.npr.org/2018/05/10/609756122/in-the-nerve-wracking-thriller-beast-a-dark-beauty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beast\u003c/em>\u003c/a>, brings a scruffy rock-star edge to the role of this impeccably well-mannered gentleman. The two of them spar furiously over the matter of Emma’s friend Harriet Smith, whom she’s trying to match up with the local vicar, Mr. Elton — a very funny Josh O’Connor, whom you may recognize as Prince Charles on \u003cem>The Crown\u003c/em>. But Emma’s plans have a way of backfiring: Too late she realizes that the foolish Mr. Elton has fallen in love with her, not Harriet.\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/qsOwj0PR5Sk'\n title='//www.youtube.com/embed/qsOwj0PR5Sk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The late English mystery writer \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\" rel=\"noopener noreferrer\">P.D. James\u003c/a> once wrote an essay championing \u003cem>Emma \u003c/em>as not just a great piece of literature but also a great detective story—a series of deceptions and misunderstandings so cunningly crafted that both Emma and the reader are led up the garden path. By the end, order is happily restored and the truth is shown to have been hiding in plain sight, as Emma realizes how badly she misjudged everyone’s romantic motivations, including her own.\u003c/p>\n\u003cp>If you’ve read the book or seen an earlier adaptation, you won’t be surprised by any of these revelations. The script, by the Booker Prize-winning novelist Eleanor Catton, is fairly faithful to the story and no less satisfying for it. This Emma isn’t an audacious reinterpretation like \u003ca href=\"https://www.npr.org/2017/11/16/564579012/greta-gerwig-explores-mother-daughter-love-and-angst-in-lady-bird\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’\u003c/a>s \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took significant liberties with a similarly beloved novel.\u003c/p>\n\u003cp>Okay, so some Austen purists might take issue with the early shot of Mr. Knightley’s naked backside as a servant helps him dress, or a later scene when Emma briefly lifts her skirt to warm her rear end by the fireplace. But I liked these moments of earthy humor. It’s de Wilde’s way of puncturing her characters’ pretensions, as if to remind us that they’re flesh-and-blood human beings beneath all that stately diction and period finery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the effervescent comedy of the movie’s first half, the second is basically one emotional knockout punch after another, aided by a musical score that deftly balances whimsy and melancholy. It helps that de Wilde’s actors are so good at finding fresh nuances even in this timeless material. I loved every hilarious moment of Miranda Hart’s performance as Miss Bates, the village chatterbox whose stories bore Emma to no end—but who turns out to have the biggest heart in Highbury. Mia Goth is especially lovely as the naive, eager-to-please Harriet. And it should come as no surprise that the great Bill Nighy steals his every scene as Emma’s endearing hypochondriac of a father. He’s a perfect mascot for the movie—impeccably dressed, knowingly ridiculous and awfully hard to resist.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Emma%27+Is+A+Frosted+Cupcake+Come+To+Life+%28In+A+Good+Way%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Slow Burn' Captures the Drip-Drip-Drip of Watergate",
"headTitle": "‘Slow Burn’ Captures the Drip-Drip-Drip of Watergate | KQED",
"content": "\u003cp>\u003cstrong>Slow Burn\u003c/strong>\u003cem>\u003cstrong> premiered Sunday February 16th on EPIX.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em> isn’t the first hit podcast to be adapted into a television series, and it won’t be the last. In this, the age of streams and verticals, of IPs and platform-agnosticism, we are about to be deluged with content that began life nestled in millions of earbuds.\u003c/p>\n\u003cp>That’s perfectly fine, of course—provided the act of adapting a series from one medium to another truly reckons with that prospect. What makes a great podcast great is wholly separate and distinct from what makes a television series great.\u003c/p>\n\u003cp>Podcasting is about intimacy—it’s a friendly voice inside your head, inviting you to imagine, to visualize, to create a story along with it. Television is about passivity—it’s an authoritative voice telling you—and thousands of others like you—to sit down, relax and absorb the story it’s showing you.\u003c/p>\n\u003cp>The podcast \u003cem>Slow Burn\u003c/em> revivifies history. It takes recent-ish events—Watergate, The Lewinsky Scandal, the Tupac vs. Biggie feud—and scours away the crust of collective knowledge that has already accreted around them. In its first “season,” for example, it invited you to imagine (or, for some listeners, clearly remember) what living through Watergate felt like, while it was slowly unfolding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The genius of the podcast, hosted by Leon Neyfakh, is how dedicated it is to making you feel the slowness of its burn. Historical events hover in our collective memory wrapped in oft-repeated received information: popular assumptions, tidy aphorisms and forced narratives. When we remember them, we remember them in shorthand—their outcomes, not their particulars.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wMQYhtD3pKQ\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em>—podcast and TV show—is about the particulars. Again and again, host Neyfakh invites you to forget what you know about, say, Watergate, and fully imagine yourself as a participant who has no idea where a “third-rate burglary” that barely made the Metro page of the \u003cem>Washington Post \u003c/em>might lead.\u003c/p>\n\u003cp>Neyfakh loves focusing on figures who, as he notes, “played roles in the story that are larger than history remembers.” One episode, for example, focuses on how the death of FBI Chief J. Edgar Hoover, and the dogged determination of Congressman Wright Patman of the House Banking Committee, impacted the twists and turns of the scandal.\u003c/p>\n\u003cp>Familiar names—Howard Hunt, G. Gordon Liddy, Martha Mitchell—crop up, and figures like Howard Dean and (trigger warning) Roger Stone are among the roster of talking heads. (Reporters Leslie Stahl and Connie Chung are also featured; Chung, turns out, has a killer Nixon impression—or at least seems to, at first. Later on she does Walter Cronkite, and you realize it’s the same impression.) But there are plenty of people that won’t show up in textbooks or Wikipedia entries, like radio personality Mae Brussell, who tossed out an endless stream of conspiracy theories—but was among the first to insist on a connection between the Watergate break-in and the White House.\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em>‘s approach to the familiar story of Nixon’s downfall is engrossing, and it’s content to note certain affinities to current events—a President who inspires fierce, if at time puzzling, loyalty; a Congressional investigation stonewalled; a disinterested electorate—without insisting upon them.\u003c/p>\n\u003cp>Future podcasters looking to adapt their content to television would do well to follow \u003cem>Slow Burn\u003c/em>‘s clean and simple example—heavy on archival film, with only a modicum of self-conscious visual filigree. (There is a bit of it—puzzlingly artsy shots of rain on a windowpane, say, or a roiling ocean. It’s meant to echo and underscore the general mood, but it’s the kind of indulgent over-production that serves only to call attention to itself.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The visual element that the series returns to most often—an empty living room, decked out in \u003cem>I-Love-the-’70s\u003c/em> furnishings—seems odd at first. (\u003cem>What’s with all this burnt ochre, avacado gold and raw umber? \u003c/em>) But gradually, the more the series returns to that room and lets the camera crawl over that walnut coffee table, bookshelf and old-school FM radio dial, the easier it becomes to imagine yourself there, living through those events, catching snippets of news coverage as you go about your day.\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=%27Slow+Burn%27+Captures+The+Drip-Drip-Drip+Of+Watergate&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>The genius of the podcast, hosted by Leon Neyfakh, is how dedicated it is to making you feel the slowness of its burn. Historical events hover in our collective memory wrapped in oft-repeated received information: popular assumptions, tidy aphorisms and forced narratives. When we remember them, we remember them in shorthand—their outcomes, not their particulars.\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/wMQYhtD3pKQ'\n title='//www.youtube.com/embed/wMQYhtD3pKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Slow Burn\u003c/em>—podcast and TV show—is about the particulars. Again and again, host Neyfakh invites you to forget what you know about, say, Watergate, and fully imagine yourself as a participant who has no idea where a “third-rate burglary” that barely made the Metro page of the \u003cem>Washington Post \u003c/em>might lead.\u003c/p>\n\u003cp>Neyfakh loves focusing on figures who, as he notes, “played roles in the story that are larger than history remembers.” One episode, for example, focuses on how the death of FBI Chief J. Edgar Hoover, and the dogged determination of Congressman Wright Patman of the House Banking Committee, impacted the twists and turns of the scandal.\u003c/p>\n\u003cp>Familiar names—Howard Hunt, G. Gordon Liddy, Martha Mitchell—crop up, and figures like Howard Dean and (trigger warning) Roger Stone are among the roster of talking heads. (Reporters Leslie Stahl and Connie Chung are also featured; Chung, turns out, has a killer Nixon impression—or at least seems to, at first. Later on she does Walter Cronkite, and you realize it’s the same impression.) But there are plenty of people that won’t show up in textbooks or Wikipedia entries, like radio personality Mae Brussell, who tossed out an endless stream of conspiracy theories—but was among the first to insist on a connection between the Watergate break-in and the White House.\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em>‘s approach to the familiar story of Nixon’s downfall is engrossing, and it’s content to note certain affinities to current events—a President who inspires fierce, if at time puzzling, loyalty; a Congressional investigation stonewalled; a disinterested electorate—without insisting upon them.\u003c/p>\n\u003cp>Future podcasters looking to adapt their content to television would do well to follow \u003cem>Slow Burn\u003c/em>‘s clean and simple example—heavy on archival film, with only a modicum of self-conscious visual filigree. (There is a bit of it—puzzlingly artsy shots of rain on a windowpane, say, or a roiling ocean. It’s meant to echo and underscore the general mood, but it’s the kind of indulgent over-production that serves only to call attention to itself.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The visual element that the series returns to most often—an empty living room, decked out in \u003cem>I-Love-the-’70s\u003c/em> furnishings—seems odd at first. (\u003cem>What’s with all this burnt ochre, avacado gold and raw umber? \u003c/em>) But gradually, the more the series returns to that room and lets the camera crawl over that walnut coffee table, bookshelf and old-school FM radio dial, the easier it becomes to imagine yourself there, living through those events, catching snippets of news coverage as you go about your day.\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=%27Slow+Burn%27+Captures+The+Drip-Drip-Drip+Of+Watergate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Black Patriots' Were Heroes of the Revolution—But Not the History Books",
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"content": "\u003cp>A new documentary, \u003cem>Black Patriots: Heroes of the Revolution,\u003c/em> introduces us to heroes of the American Revolution who aren’t typically found in history books. They are a writer, a double agent, a martyr and a soldier—and they are all black.\u003c/p>\n\u003cfigure id=\"attachment_13875022\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png\" alt=\"Kareem Abdul-Jabbar is the executive producer of 'Black Patriots.'\" width=\"301\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM-160x213.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">Kareem Abdul-Jabbar is the executive producer of ‘Black Patriots.’ \u003ccite>(Jai Lennard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kareem Abdul-Jabbar is the executive producer. He is a Hall of Fame basketball player, writer, activist, and in 2016 the recipient of the Presidential Medal of Freedom.\u003c/p>\n\u003cp>Abdul-Jabbar says he was born and raised in New York City, in “the last part of Manhattan that George Washington controlled before he had to leave and escape and go to Valley Forge,” he says. “You know, I read about that incident in my history books, and I was surprised to find out that it happened in in my neighborhood. So after that, you know. My experiences as a child, we often would find like musket balls and arrowheads in the parks. Right there in northern Manhattan. And you know, I felt a real connection to the history of that area.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why we don’t know these stories\u003c/strong>\u003c/p>\n\u003cp>Well, we don’t know the stories already because people who write history books, or who have written most of the history books have focused on what European Americans thought, and what their objectives were, and what they did to make those objectives become real. And anybody who was not European was not seen as being worth depicting, because their stake in it seemed to be non-existent. This nation was founded by white people, for white people. At the time, blacks were not allowed citizenship. Women were not allowed to vote. Native Americans were not allowed citizenship. That’s the way it was back in those days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On the story that had the most impact on him\u003c/strong>\u003c/p>\n\u003cp>Well, Peter Salem is absolutely a hero doing a heroic thing at a very crucial time. Peter Salem frustrated the final attempt by the British to take the field [at the Battle of Bunker Hill] by shooting Major Pitcairn, who was an officer in the British army. He shot him before he could gather the troops. The British professional soldiers thought that they could run our side off of the field because, you know, they weren’t professional soldiers. But we changed their mind over the period of the Revolutionary War. And in the end, the British had to concede.\u003c/p>\n\u003cp>\u003ca href=\"https://nmaahc.si.edu/blog/peter-salem-and-battle-bunker-hill\" target=\"_blank\" rel=\"noopener noreferrer\">There’s a painting of the Battle of Bunker Hill\u003c/a> and Peter Salem, I think, is in it. He’s down in a corner hiding behind the shoulder of one of the white American officers. And you almost don’t see him. I think in some in some paintings he’s been cropped off. But there’s a black soldier there.\u003c/p>\n\u003cp>\u003cstrong>On black Americans during the Revolution\u003c/strong>\u003c/p>\n\u003cp>Both sides of the war really tried to recruit black slaves into their army, and they promised freedom to any black slave that would join either army. The ones that joined the revolutionary cause were lied to. They were not granted their freedom after they did serve in the army. But the blacks that joined the British army were able to effect their own freedom. And when the British retired from North America, they took those guys with them who had citizenship and went to places like Nova Scotia or the Caribbean, or even back to England.\u003c/p>\n\u003cp>\u003cstrong>On why it’s important now to look back at this moment\u003c/strong>\u003c/p>\n\u003cp>Some of the things that we see today remind us of things that happened before, and not in a very positive way. When I saw the children that were trying to apply for asylum in America being separated from their parents at the Texas border, it reminded me of the way that slave children were ripped from their parents so that their parents could be sent to various plantations and worked to death. That that was a common thing back then. And the same ability to ignore human suffering and do something like that—which was exhibited by slave masters—was exhibited by some of the officials dealing with the people applying for asylum. And, you know, there was 150 year gap, but it was the same images, and something that we should not be proud of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Tinbete Ermyas and Robert Baldwin III, and adapted for the Web by Petra Mayer.\u003c/em>\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=%27Black+Patriots%27+Were+Heroes+Of+The+Revolution+%E2%80%94+But+Not+The+History+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new documentary, \u003cem>Black Patriots: Heroes of the Revolution,\u003c/em> introduces us to heroes of the American Revolution who aren’t typically found in history books. They are a writer, a double agent, a martyr and a soldier—and they are all black.\u003c/p>\n\u003cfigure id=\"attachment_13875022\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png\" alt=\"Kareem Abdul-Jabbar is the executive producer of 'Black Patriots.'\" width=\"301\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM-160x213.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">Kareem Abdul-Jabbar is the executive producer of ‘Black Patriots.’ \u003ccite>(Jai Lennard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kareem Abdul-Jabbar is the executive producer. He is a Hall of Fame basketball player, writer, activist, and in 2016 the recipient of the Presidential Medal of Freedom.\u003c/p>\n\u003cp>Abdul-Jabbar says he was born and raised in New York City, in “the last part of Manhattan that George Washington controlled before he had to leave and escape and go to Valley Forge,” he says. “You know, I read about that incident in my history books, and I was surprised to find out that it happened in in my neighborhood. So after that, you know. My experiences as a child, we often would find like musket balls and arrowheads in the parks. Right there in northern Manhattan. And you know, I felt a real connection to the history of that area.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why we don’t know these stories\u003c/strong>\u003c/p>\n\u003cp>Well, we don’t know the stories already because people who write history books, or who have written most of the history books have focused on what European Americans thought, and what their objectives were, and what they did to make those objectives become real. And anybody who was not European was not seen as being worth depicting, because their stake in it seemed to be non-existent. This nation was founded by white people, for white people. At the time, blacks were not allowed citizenship. Women were not allowed to vote. Native Americans were not allowed citizenship. That’s the way it was back in those days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On the story that had the most impact on him\u003c/strong>\u003c/p>\n\u003cp>Well, Peter Salem is absolutely a hero doing a heroic thing at a very crucial time. Peter Salem frustrated the final attempt by the British to take the field [at the Battle of Bunker Hill] by shooting Major Pitcairn, who was an officer in the British army. He shot him before he could gather the troops. The British professional soldiers thought that they could run our side off of the field because, you know, they weren’t professional soldiers. But we changed their mind over the period of the Revolutionary War. And in the end, the British had to concede.\u003c/p>\n\u003cp>\u003ca href=\"https://nmaahc.si.edu/blog/peter-salem-and-battle-bunker-hill\" target=\"_blank\" rel=\"noopener noreferrer\">There’s a painting of the Battle of Bunker Hill\u003c/a> and Peter Salem, I think, is in it. He’s down in a corner hiding behind the shoulder of one of the white American officers. And you almost don’t see him. I think in some in some paintings he’s been cropped off. But there’s a black soldier there.\u003c/p>\n\u003cp>\u003cstrong>On black Americans during the Revolution\u003c/strong>\u003c/p>\n\u003cp>Both sides of the war really tried to recruit black slaves into their army, and they promised freedom to any black slave that would join either army. The ones that joined the revolutionary cause were lied to. They were not granted their freedom after they did serve in the army. But the blacks that joined the British army were able to effect their own freedom. And when the British retired from North America, they took those guys with them who had citizenship and went to places like Nova Scotia or the Caribbean, or even back to England.\u003c/p>\n\u003cp>\u003cstrong>On why it’s important now to look back at this moment\u003c/strong>\u003c/p>\n\u003cp>Some of the things that we see today remind us of things that happened before, and not in a very positive way. When I saw the children that were trying to apply for asylum in America being separated from their parents at the Texas border, it reminded me of the way that slave children were ripped from their parents so that their parents could be sent to various plantations and worked to death. That that was a common thing back then. And the same ability to ignore human suffering and do something like that—which was exhibited by slave masters—was exhibited by some of the officials dealing with the people applying for asylum. And, you know, there was 150 year gap, but it was the same images, and something that we should not be proud of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Tinbete Ermyas and Robert Baldwin III, and adapted for the Web by Petra Mayer.\u003c/em>\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=%27Black+Patriots%27+Were+Heroes+Of+The+Revolution+%E2%80%94+But+Not+The+History+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"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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"order": 15
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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. ",
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"order": 18
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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/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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/",
"meta": {
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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?",
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