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"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>\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. 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"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. 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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. 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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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"title": "'The Photograph' Has Great Chemistry But Remains Unfocused",
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"content": "\u003cp>The photograph in \u003cem>The Photograph\u003c/em> is the lone portrait of the photographer herself, shown slumping at a kitchen table in a humble Gulf-side home in rural Louisiana. The man who took the shot is her boyfriend, a third-generation fisherman who’s content to marry her and stay put. As it happens, it’s the last night they spend together as a couple, because she’s resolved to pursue her dreams as an artist in New York City and will be taking the first Greyhound bus out of town in the morning. The picture says 1,000 words: She’s sad and uncomfortable in the frame, as if her boyfriend has attempted to box her into a life she doesn’t want.\u003c/p>\n\u003cp>Writer-director Stella Meghie’s half-turgid, half-affecting romance circles around the powerful idea of that shot as a means for the photographer’s daughter to understand her distant mother and perhaps to understand herself, too. This structural push-and-pull between past and present—and between the humble sun-kissed idyll of the Gulf Shore and the Nancy Meyers kitchens of New York—may seem familiar from Nicholas Sparks adaptations, but Meghie seems to evoke them in order to subvert them. She answers the lily-whiteness of Sparks’ characters with African Americans for one, but she also cranks down the melodrama. She’s searching for human moments, not outrageous turns of the plot.\u003c/p>\n\u003cp>The consequence for \u003cem>The Photograph\u003c/em> is that most of it is curiously flat and under-seasoned, despite two stars in Issa Rae and Lakeith Stanfield who have an abundance of chemistry together. Rae stars as Mae Morton, daughter of the renowned photographer Christina Eames (Chante Adams), who’s having a posthumous retrospective of her work in New York. Mae discovers the shot of her mother in a safety deposit box and the film circles back to Louisiana, where Christina’s ex-boyfriend Issac (Rob Morgan) still seems raw 30 years after she left. In flashbacks, Issac (played as a young adult by Y’lan Noel) argues with Christina about their future, but is nonetheless thunderstruck when she leaves without a word.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=954b9vLAT6Y\u003c/p>\n\u003cp>In the present, Mae strikes up a relationship with Michael (Stanfield), the hotshot feature journalist assigned to write about her mother’s life and work. The two fall hard for each other, but Michael’s plan to take a job in London summons the abandonment issues that have haunted her since childhood. They’re too new to each other to demand or expect a long-term commitment, but it seems like one of those connections that’s worth a gamble. And given the lonely life of her mother, Mae naturally worries that she might be doomed to the same fate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rae and Stanfield are effortlessly funny performers, but Meghie limits their spontaneity even in more casual, flirtier, getting-to-know-you encounters. She also smothers the film in a soft-jazz score that reinforces the earnest tone, as if the drama would somehow lose its power if it were played from any other angle. \u003cem>The Photograph\u003c/em> always seems a beat or two slower than it should be, which makes it easier to see the gears of its plot turning away, leading the audience to unsurprising destinations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet there are moments when Meghie’s strategy pays off and playing the emotions straight winds up dignifying and strengthening them. The efforts of Mae and the older Issac to process Christina’s loss are subtly rhymed, as they try to reconcile the love she had for them with a deeper and more private need to express herself. And Stanfield’s performance as Michael seems cool and disengaged until he finally lets down his guard, and a small dam bursts in his eyes. \u003cem>The Photograph\u003c/em> is a Valentine’s card on tastefully embossed stationary, but at least the sentiments within seem genuine.\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=Romantic+Drama+%27The+Photograph%27+Is+Unfocused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The photograph in \u003cem>The Photograph\u003c/em> is the lone portrait of the photographer herself, shown slumping at a kitchen table in a humble Gulf-side home in rural Louisiana. The man who took the shot is her boyfriend, a third-generation fisherman who’s content to marry her and stay put. As it happens, it’s the last night they spend together as a couple, because she’s resolved to pursue her dreams as an artist in New York City and will be taking the first Greyhound bus out of town in the morning. The picture says 1,000 words: She’s sad and uncomfortable in the frame, as if her boyfriend has attempted to box her into a life she doesn’t want.\u003c/p>\n\u003cp>Writer-director Stella Meghie’s half-turgid, half-affecting romance circles around the powerful idea of that shot as a means for the photographer’s daughter to understand her distant mother and perhaps to understand herself, too. This structural push-and-pull between past and present—and between the humble sun-kissed idyll of the Gulf Shore and the Nancy Meyers kitchens of New York—may seem familiar from Nicholas Sparks adaptations, but Meghie seems to evoke them in order to subvert them. She answers the lily-whiteness of Sparks’ characters with African Americans for one, but she also cranks down the melodrama. She’s searching for human moments, not outrageous turns of the plot.\u003c/p>\n\u003cp>The consequence for \u003cem>The Photograph\u003c/em> is that most of it is curiously flat and under-seasoned, despite two stars in Issa Rae and Lakeith Stanfield who have an abundance of chemistry together. Rae stars as Mae Morton, daughter of the renowned photographer Christina Eames (Chante Adams), who’s having a posthumous retrospective of her work in New York. Mae discovers the shot of her mother in a safety deposit box and the film circles back to Louisiana, where Christina’s ex-boyfriend Issac (Rob Morgan) still seems raw 30 years after she left. In flashbacks, Issac (played as a young adult by Y’lan Noel) argues with Christina about their future, but is nonetheless thunderstruck when she leaves without a word.\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/954b9vLAT6Y'\n title='//www.youtube.com/embed/954b9vLAT6Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the present, Mae strikes up a relationship with Michael (Stanfield), the hotshot feature journalist assigned to write about her mother’s life and work. The two fall hard for each other, but Michael’s plan to take a job in London summons the abandonment issues that have haunted her since childhood. They’re too new to each other to demand or expect a long-term commitment, but it seems like one of those connections that’s worth a gamble. And given the lonely life of her mother, Mae naturally worries that she might be doomed to the same fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rae and Stanfield are effortlessly funny performers, but Meghie limits their spontaneity even in more casual, flirtier, getting-to-know-you encounters. She also smothers the film in a soft-jazz score that reinforces the earnest tone, as if the drama would somehow lose its power if it were played from any other angle. \u003cem>The Photograph\u003c/em> always seems a beat or two slower than it should be, which makes it easier to see the gears of its plot turning away, leading the audience to unsurprising destinations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet there are moments when Meghie’s strategy pays off and playing the emotions straight winds up dignifying and strengthening them. The efforts of Mae and the older Issac to process Christina’s loss are subtly rhymed, as they try to reconcile the love she had for them with a deeper and more private need to express herself. And Stanfield’s performance as Michael seems cool and disengaged until he finally lets down his guard, and a small dam bursts in his eyes. \u003cem>The Photograph\u003c/em> is a Valentine’s card on tastefully embossed stationary, but at least the sentiments within seem genuine.\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=Romantic+Drama+%27The+Photograph%27+Is+Unfocused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmaker Tracks Bezos' 'Rise and Reign' and How Amazon Became 'Inescapable'",
"headTitle": "Filmmaker Tracks Bezos’ ‘Rise and Reign’ and How Amazon Became ‘Inescapable’ | KQED",
"content": "\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXzDXsXKjFk\u003c/p>\n\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. 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=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Director James Jacoby catalogs the reach of the tech giant in his new PBS FRONTLINE documentary, 'Amazon Empire.' \"So much power is pooled into the hands of one company and one man,\" he says.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\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/DXzDXsXKjFk'\n title='//www.youtube.com/embed/DXzDXsXKjFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. 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=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Little Legends' Celebrates Big Lives of Black History",
"headTitle": "‘Little Legends’ Celebrates Big Lives of Black History | KQED",
"content": "\u003cp>The book we’re talking about right now almost didn’t exist.\u003c/p>\n\u003cp>\u003cem>Little Legends\u003c/em> celebrates exceptional men in black history; it’s by the author-illustrator Vashti Harrison. She says she thought long and hard about taking on this subject matter, because she relates more to women’s stories.\u003c/p>\n\u003cp>“My first book \u003cem>Little Leaders: Bold Women in Black History\u003c/em> … came from a really personal place,” Harrison says. “I was thinking about the stories that I needed to see when I was a little kid. From the moment it got announced people were asking me, ‘Are you going to write one about black men as well?'”\u003c/p>\n\u003cp>Eventually she gave in, since demand was so high for a followup—and the result was \u003cem>Little Legends\u003c/em>. On every other page, Harrison’s detailed illustrations bring each profile to life. And there’s one thing they all have in common: She’s drawn every one with their eyes closed.\u003c/p>\n\u003cp>“I really wanted to create this sweet, simple character,” she says. “I could have drawn each of these famous people to look like themselves, but I wanted to create a child character and kind of make it look like they were almost dressing up as these famous people. They’ve got their eyes closed, with this sweet smile. And I wanted it to feel like they’re kind of imagining themselves in the worlds of these wonderful people. But I also wanted to create a beautiful book … something that featured characters of color, people of color in a book that looks like it belongs on the shelf next to Winnie the Pooh and Madeline and Eloise.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On choosing which men to profile\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was not easy. There was, I think, originally a list of about 100 people, obviously so many incredible people who could have gone in. But one thing that was really important for me in the first book, that I carried over into this one, was showcasing a diverse list of fields of study. Sure, there are doctors and lawyers and activists, but also engineers and cyclists and artists, because there’s a question that a lot of adults ask kids—and I don’t really like this question so much. When I was little, I didn’t love it. But it’s what do you want to be when you grow up? … I mean, I don’t think you should have to know too early. Great if you do. But also cool if you don’t. But I wanted to be able to fill kids up with the knowledge of all these different paths and fields of study. So when they’re ready to answer, they’ll know about all these cool folks that came before them.\u003c/p>\n\u003cp>\u003cstrong>On choosing men who may not be as well-known\u003c/strong>\u003c/p>\n\u003cp>Originally, you know, when I was thinking about my first book, I was thinking about Black History Month. And why is it that we actually celebrate Black History Month when Carter G. Woodson founded Negro History Week in 1926? His goal was to celebrate the stories that have been long neglected throughout history. So I felt like, here’s an opportunity to showcase some names that you wouldn’t maybe come across in the mainstream. So when you go to the bookstore, there are lots of books featuring Martin Luther King Jr. and Barack Obama. I wanted to be able to showcase some names that you may not see everywhere else, so like Bass Reeves and John Robinson. But obviously there are some big names because … I hoped that, you know, people would share this book. And just in case it was someone’s first introduction to black history, there are a few big names.\u003c/p>\n\u003cfigure id=\"attachment_13874846\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png\" alt=\"Bass Reeves (1838-1910)\" width=\"638\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM-160x174.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Bass Reeves (1838-1910)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the artist Aaron Douglas\u003c/strong>\u003c/p>\n\u003cp>I mean, I definitely have a soft spot for the artists. So one of my favorites is Aaron Douglas for sure. You know, his work was just really just so beautiful. He was a master of color, and he was making artwork for and about black people in a time before anyone considered black to be beautiful. And he just made his work so unique. He combined Art Deco and Cubism and Egyptian hieroglyphics to create this bold style that became the look for the Harlem Renaissance. His work was everywhere on posters, on book covers, in magazines. And I just, I love everything he’s created.\u003c/p>\n\u003cfigure id=\"attachment_13874847\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png\" alt=\"Aaron Douglas (1899-1979)\" width=\"645\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png 645w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM-160x171.png 160w\" sizes=\"(max-width: 645px) 100vw, 645px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Douglas (1899-1979)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how these men responded to the racism around them\u003c/strong>\u003c/p>\n\u003cp>What I really wanted kids to connect with was this passion and joy that a lot of these people found in the things that they were doing. Someone like Major Taylor, who faced incredible racism and prejudice in the cycling industry. He still went after his love and enjoyed it and found beauty in it. And I really wanted to be able to share that with kids.\u003c/p>\n\u003cfigure id=\"attachment_13874848\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png\" alt='Marshall \"Major\" Taylor (1878-1932)' width=\"644\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM-160x172.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Marshall “Major” Taylor (1878-1932)\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, it’s a harsh reality that a lot of parents of color, children of color experience often way too early. But what I really want them to know is that through hard work, through grace, through kindness and through passion, these people found and created lives that were meaningful and made work that was meaningful for other people. It was tough tackling some of these subjects. It’s dark. Our history is dark sometimes. And I found it was really important to just put it all out there. You know, it was reality. And so I really just want these young readers to know that that didn’t define them. These hardships didn’t define them, but it was their love and their kindness and their goodness that made a difference in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was produced for radio by Reena Advani and Victoria Whitley-Berry, 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=%27Little+Legends%27+Celebrates+Big+Lives+Of+Black+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The book we’re talking about right now almost didn’t exist.\u003c/p>\n\u003cp>\u003cem>Little Legends\u003c/em> celebrates exceptional men in black history; it’s by the author-illustrator Vashti Harrison. She says she thought long and hard about taking on this subject matter, because she relates more to women’s stories.\u003c/p>\n\u003cp>“My first book \u003cem>Little Leaders: Bold Women in Black History\u003c/em> … came from a really personal place,” Harrison says. “I was thinking about the stories that I needed to see when I was a little kid. From the moment it got announced people were asking me, ‘Are you going to write one about black men as well?'”\u003c/p>\n\u003cp>Eventually she gave in, since demand was so high for a followup—and the result was \u003cem>Little Legends\u003c/em>. On every other page, Harrison’s detailed illustrations bring each profile to life. And there’s one thing they all have in common: She’s drawn every one with their eyes closed.\u003c/p>\n\u003cp>“I really wanted to create this sweet, simple character,” she says. “I could have drawn each of these famous people to look like themselves, but I wanted to create a child character and kind of make it look like they were almost dressing up as these famous people. They’ve got their eyes closed, with this sweet smile. And I wanted it to feel like they’re kind of imagining themselves in the worlds of these wonderful people. But I also wanted to create a beautiful book … something that featured characters of color, people of color in a book that looks like it belongs on the shelf next to Winnie the Pooh and Madeline and Eloise.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On choosing which men to profile\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not easy. There was, I think, originally a list of about 100 people, obviously so many incredible people who could have gone in. But one thing that was really important for me in the first book, that I carried over into this one, was showcasing a diverse list of fields of study. Sure, there are doctors and lawyers and activists, but also engineers and cyclists and artists, because there’s a question that a lot of adults ask kids—and I don’t really like this question so much. When I was little, I didn’t love it. But it’s what do you want to be when you grow up? … I mean, I don’t think you should have to know too early. Great if you do. But also cool if you don’t. But I wanted to be able to fill kids up with the knowledge of all these different paths and fields of study. So when they’re ready to answer, they’ll know about all these cool folks that came before them.\u003c/p>\n\u003cp>\u003cstrong>On choosing men who may not be as well-known\u003c/strong>\u003c/p>\n\u003cp>Originally, you know, when I was thinking about my first book, I was thinking about Black History Month. And why is it that we actually celebrate Black History Month when Carter G. Woodson founded Negro History Week in 1926? His goal was to celebrate the stories that have been long neglected throughout history. So I felt like, here’s an opportunity to showcase some names that you wouldn’t maybe come across in the mainstream. So when you go to the bookstore, there are lots of books featuring Martin Luther King Jr. and Barack Obama. I wanted to be able to showcase some names that you may not see everywhere else, so like Bass Reeves and John Robinson. But obviously there are some big names because … I hoped that, you know, people would share this book. And just in case it was someone’s first introduction to black history, there are a few big names.\u003c/p>\n\u003cfigure id=\"attachment_13874846\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png\" alt=\"Bass Reeves (1838-1910)\" width=\"638\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM-160x174.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Bass Reeves (1838-1910)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the artist Aaron Douglas\u003c/strong>\u003c/p>\n\u003cp>I mean, I definitely have a soft spot for the artists. So one of my favorites is Aaron Douglas for sure. You know, his work was just really just so beautiful. He was a master of color, and he was making artwork for and about black people in a time before anyone considered black to be beautiful. And he just made his work so unique. He combined Art Deco and Cubism and Egyptian hieroglyphics to create this bold style that became the look for the Harlem Renaissance. His work was everywhere on posters, on book covers, in magazines. And I just, I love everything he’s created.\u003c/p>\n\u003cfigure id=\"attachment_13874847\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png\" alt=\"Aaron Douglas (1899-1979)\" width=\"645\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png 645w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM-160x171.png 160w\" sizes=\"(max-width: 645px) 100vw, 645px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Douglas (1899-1979)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how these men responded to the racism around them\u003c/strong>\u003c/p>\n\u003cp>What I really wanted kids to connect with was this passion and joy that a lot of these people found in the things that they were doing. Someone like Major Taylor, who faced incredible racism and prejudice in the cycling industry. He still went after his love and enjoyed it and found beauty in it. And I really wanted to be able to share that with kids.\u003c/p>\n\u003cfigure id=\"attachment_13874848\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png\" alt='Marshall \"Major\" Taylor (1878-1932)' width=\"644\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM-160x172.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Marshall “Major” Taylor (1878-1932)\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, it’s a harsh reality that a lot of parents of color, children of color experience often way too early. But what I really want them to know is that through hard work, through grace, through kindness and through passion, these people found and created lives that were meaningful and made work that was meaningful for other people. It was tough tackling some of these subjects. It’s dark. Our history is dark sometimes. And I found it was really important to just put it all out there. You know, it was reality. And so I really just want these young readers to know that that didn’t define them. These hardships didn’t define them, but it was their love and their kindness and their goodness that made a difference in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was produced for radio by Reena Advani and Victoria Whitley-Berry, 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=%27Little+Legends%27+Celebrates+Big+Lives+Of+Black+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Fictional Pandemics Can Teach Us About Real-World Survival",
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"content": "\u003cp>We’ve been telling stories about pandemics for a very long time. From an eighth century BCE poem about a \u003ca href=\"https://en.wikipedia.org/wiki/Erra_(god)\" target=\"_blank\" rel=\"noopener noreferrer\">Babylonian plague god\u003c/a> to the Old Testament’s ten plagues of Egypt to, well, the AMC megahit zombie show \u003cem>The Walking Dead\u003c/em>, now in its tenth season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=79io403T1EM\u003c/p>\n\u003cp>Long ago, we understood mass outbreaks as divine punishment for human transgressions—but our stories about disease have changed over time. Although still fantastic, modern stories about disease tend to be rooted in political and social realities. Last year, the 800-page novel \u003cem>Wanderers\u003c/em> combined science fiction and horror with a techno-thriller focus on the rise of artificial intelligence and white nationalism in the aftermath of a pandemic. Author Chuck Wendig explains the appeal of writing a story where entire populations get sick and die: “Bringing these things into a book is like, you know, an ancient summoning. Summoning a demon into a summoning circle. Because that’s how you fight it.”\u003c/p>\n\u003cp>But how does fiction fight something like disease? In its own way, says writer and filmmaker Jeff Barnaby, by helping us make sense of the real world. Barnaby says today’s books, TV shows and movies based on pandemics explore how people live upon and move around a planet defined by compromised ecosystems, borders and barricades.\u003c/p>\n\u003cp>“You’re dealing with the aftermath of globalism,” he points out. “And I think you’re starting to see people make the link between how you treat the environment and the way the environment treats you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0hkO5UjSpw\u003c/p>\n\u003cp>Barnaby’s new movie, \u003cem>Blood Quantum\u003c/em>, is about a fast-spreading virus that turns people into zombies, but those with a certain amount of Native American heritage are immune. Barnaby, who belongs to the Mi’kmaq tribe in Canada, says indigenous people have been telling stories about pandemics for generations. “And they’ve been dealing with disease since first contact, so they’re well versed in catastrophes,” he says dryly.\u003c/p>\n\u003cp>\u003cem>Blood Quantum\u003c/em> hasn’t been released quite yet—it’s currently screening in festivals and it’ll be on the horror movie channel Shudder later this year. Barnaby sees stories about pandemics almost inevitably as about scapegoating and cultural anxieties. Discrimination and racism against Asians has intensified globally since the spread of coronavirus, as has been widely reported. On Netflix right now, a pandemic drama called \u003cem>\u003ca href=\"https://www.netflix.com/title/80066079\" target=\"_blank\" rel=\"noopener noreferrer\">Containment\u003c/a>\u003c/em> plays into stereotypes of Middle Eastern people as dangerous infiltrators—a Syrian refugee in Atlanta is patient zero, essentially a terrorist whose body is a weapon, a vector of disease.\u003c/p>\n\u003cp>In works by writers of color, pandemics sometimes serve as a metaphor for colonialism, says Maxine Montgomery, an English professor at Florida State University. In her writing on apocalyptic and post-apocalyptic literature by black women writers such as Octavia Butler and Toni Morrison, the human cost of pandemics, and the disproportionate suffering of vulnerable populations, are frequently invoked.\u003c/p>\n\u003cp>“Smallpox, other viruses as well, that are linked inextricably to slavery and colonialization,” Montgomery says. “In ways that suggest that slavery has residual consequences that we’ve not fully recognized or acknowledged.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4sYSyuuLk5g\u003c/p>\n\u003cp>Something’s missing from mainstream pandemic thrillers, she says, including \u003cem>Contagion\u003c/em>, the 2011 film that saw a spike on iTunes right about when the World Heath organization declared coronavirus a global emergency. And that’s a hard look at the issue of who gets treated when an epidemic breaks out, and who’s excluded from institutional safety nets.\u003c/p>\n\u003cp>In the fiction Montgomery studies, rescue rarely comes from the scientists at the Center for Disease Control or from research hospitals. “It’s always a matter of characters reaching back,” she says, to mend a deeper malady. Reconnecting with folk traditions isn’t likely to be adopted as a public policy recommendation, but Montgomery suggests the questions provoked by these stories are essential ones: “How we see people who are afflicted by disease. How we respond to them in terms of human empathy.”\u003c/p>\n\u003cp>Author Chuck Wendig says he hopes his novel \u003cem>Wanderers\u003c/em> does the same thing. “You know, I didn’t want to write a book that was fatalistic or nihilistic in how it dealt with people,” he says. There’s darkness and death in the stories we tell about pandemics, he adds, but that’s not what these stories are really about. They’re really about how we survive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Petra Mayer and Kelli Wessinger, 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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Fictional+Pandemics+Can+Teach+Us+About+Real-World+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve been telling stories about pandemics for a very long time. From an eighth century BCE poem about a \u003ca href=\"https://en.wikipedia.org/wiki/Erra_(god)\" target=\"_blank\" rel=\"noopener noreferrer\">Babylonian plague god\u003c/a> to the Old Testament’s ten plagues of Egypt to, well, the AMC megahit zombie show \u003cem>The Walking Dead\u003c/em>, now in its tenth season.\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/79io403T1EM'\n title='//www.youtube.com/embed/79io403T1EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Long ago, we understood mass outbreaks as divine punishment for human transgressions—but our stories about disease have changed over time. Although still fantastic, modern stories about disease tend to be rooted in political and social realities. Last year, the 800-page novel \u003cem>Wanderers\u003c/em> combined science fiction and horror with a techno-thriller focus on the rise of artificial intelligence and white nationalism in the aftermath of a pandemic. Author Chuck Wendig explains the appeal of writing a story where entire populations get sick and die: “Bringing these things into a book is like, you know, an ancient summoning. Summoning a demon into a summoning circle. Because that’s how you fight it.”\u003c/p>\n\u003cp>But how does fiction fight something like disease? In its own way, says writer and filmmaker Jeff Barnaby, by helping us make sense of the real world. Barnaby says today’s books, TV shows and movies based on pandemics explore how people live upon and move around a planet defined by compromised ecosystems, borders and barricades.\u003c/p>\n\u003cp>“You’re dealing with the aftermath of globalism,” he points out. “And I think you’re starting to see people make the link between how you treat the environment and the way the environment treats you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d0hkO5UjSpw'\n title='//www.youtube.com/embed/d0hkO5UjSpw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barnaby’s new movie, \u003cem>Blood Quantum\u003c/em>, is about a fast-spreading virus that turns people into zombies, but those with a certain amount of Native American heritage are immune. Barnaby, who belongs to the Mi’kmaq tribe in Canada, says indigenous people have been telling stories about pandemics for generations. “And they’ve been dealing with disease since first contact, so they’re well versed in catastrophes,” he says dryly.\u003c/p>\n\u003cp>\u003cem>Blood Quantum\u003c/em> hasn’t been released quite yet—it’s currently screening in festivals and it’ll be on the horror movie channel Shudder later this year. Barnaby sees stories about pandemics almost inevitably as about scapegoating and cultural anxieties. Discrimination and racism against Asians has intensified globally since the spread of coronavirus, as has been widely reported. On Netflix right now, a pandemic drama called \u003cem>\u003ca href=\"https://www.netflix.com/title/80066079\" target=\"_blank\" rel=\"noopener noreferrer\">Containment\u003c/a>\u003c/em> plays into stereotypes of Middle Eastern people as dangerous infiltrators—a Syrian refugee in Atlanta is patient zero, essentially a terrorist whose body is a weapon, a vector of disease.\u003c/p>\n\u003cp>In works by writers of color, pandemics sometimes serve as a metaphor for colonialism, says Maxine Montgomery, an English professor at Florida State University. In her writing on apocalyptic and post-apocalyptic literature by black women writers such as Octavia Butler and Toni Morrison, the human cost of pandemics, and the disproportionate suffering of vulnerable populations, are frequently invoked.\u003c/p>\n\u003cp>“Smallpox, other viruses as well, that are linked inextricably to slavery and colonialization,” Montgomery says. “In ways that suggest that slavery has residual consequences that we’ve not fully recognized or acknowledged.”\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/4sYSyuuLk5g'\n title='//www.youtube.com/embed/4sYSyuuLk5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something’s missing from mainstream pandemic thrillers, she says, including \u003cem>Contagion\u003c/em>, the 2011 film that saw a spike on iTunes right about when the World Heath organization declared coronavirus a global emergency. And that’s a hard look at the issue of who gets treated when an epidemic breaks out, and who’s excluded from institutional safety nets.\u003c/p>\n\u003cp>In the fiction Montgomery studies, rescue rarely comes from the scientists at the Center for Disease Control or from research hospitals. “It’s always a matter of characters reaching back,” she says, to mend a deeper malady. Reconnecting with folk traditions isn’t likely to be adopted as a public policy recommendation, but Montgomery suggests the questions provoked by these stories are essential ones: “How we see people who are afflicted by disease. How we respond to them in terms of human empathy.”\u003c/p>\n\u003cp>Author Chuck Wendig says he hopes his novel \u003cem>Wanderers\u003c/em> does the same thing. “You know, I didn’t want to write a book that was fatalistic or nihilistic in how it dealt with people,” he says. There’s darkness and death in the stories we tell about pandemics, he adds, but that’s not what these stories are really about. They’re really about how we survive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Petra Mayer and Kelli Wessinger, 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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Fictional+Pandemics+Can+Teach+Us+About+Real-World+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Author L.L. McKinney: Barnes & Noble 'Diverse Editions' are 'Literary Blackface'",
"headTitle": "Author L.L. McKinney: Barnes & Noble ‘Diverse Editions’ are ‘Literary Blackface’ | KQED",
"content": "\u003cp>“There are so many ways to get this right, they had to look for a way to get this wrong.”\u003c/p>\n\u003cp>That’s author L.L. McKinney’s response to Barnes & Noble’s “Diverse Editions” campaign. McKinney’s most recent book, \u003cem>A Dream So Dark,\u003c/em> is a sequel to \u003cem>\u003ca href=\"https://www.npr.org/books/titles/651940128/a-blade-so-black\" target=\"_blank\" rel=\"noopener noreferrer\">A Blade So Black\u003c/a>\u003c/em>, a contemporary retelling of \u003cem>Alice in Wonderland\u003c/em> with a black female lead.\u003c/p>\n\u003cp>The bookselling chain announced this month that they were going to release classic books with new covers that reimagined protagonists as characters of color. These included \u003cem>Frankenstein\u003c/em>, \u003cem>Peter Pan\u003c/em> and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> among others—almost all books by white authors, about characters presumed to be white.\u003c/p>\n\u003cp>Black authors took to Twitter to express their criticism of the project, many of them, including McKinney, calling it “literary blackface.”\u003c/p>\n\u003cp>Barnes & Noble \u003ca href=\"https://twitter.com/BNBuzz/status/1225120163692937218\" target=\"_blank\" rel=\"noopener noreferrer\">released a statement on Twitter\u003c/a> on Wednesday, the day the book covers were supposed to be displayed at their Fifth Avenue store in Manhattan, saying they were no longer going forward with the campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the statement, the chain said “it was a project inspired by outwork with schools and was created in part to raise awareness and discussion during Black History Month, in which Barnes & Noble stores nationally will continue to highlight a wide selection of books to celebrate black history and great literature from writers of color.”\u003c/p>\n\u003cp>But what was supposed to be a celebration of diversity to kick off Black History Month turned into a moment where black writers weren’t actually part of that celebration. [aside postid='pop_109548']\u003c/p>\n\u003cp>Out of the 12 books chosen for the campaign, only one was written by a black author—\u003cem>The Count of Monte Cristo\u003c/em>, by Alexandre Dumas.\u003c/p>\n\u003cp>“It’s still a story by a white author, featuring a white character, told via the white gaze,” McKinney says. “And none of this has changed within the contents of the story itself. They’re essentially just slapping a cover on it to ‘celebrate diversity.’ But a lot of us felt that you’re just trying to cash in on the fact that it’s Black History Month, and now all of a sudden, black faces and brown faces will sell books. Just maybe one, two years ago, people were saying in meetings, ‘Yeah, you can’t put black people on covers. It’s not going to sell the book.'”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what Barnes & Noble could have done instead\u003c/strong>\u003c/p>\n\u003cp>Feature black people, that’s the beginning and end of it. If you’re wanting to put a spin on classics, feature classics that are by black and brown authors. Like Zora Neale Hurston. Toni Morrison. Give their covers updates and put them on your tables. Or if you want to do this thing where you connect to the ideas of the classic canon, we are out there writing reimaginings and retellings and putting ourselves in the narratives of these stories. Like \u003cem>Pride & Prejudice\u003c/em>. Like \u003cem>Alice in Wonderland\u003c/em>. Like \u003cem>Wizard of Oz\u003c/em>. We’re doing that, so feature those books if that’s the angle you want to go.\u003c/p>\n\u003cp>\u003cstrong>On diversity in book publishing\u003c/strong>\u003c/p>\n\u003cp>No one thinks they’re capable of making mistakes at this level. Especially mistakes like this. Because if you did think that that was a thing that could happen, you would have things in place and people in place to be able to prevent it from happening, right? I’ve been that person, you know, that one black voice, that one person of color in the room or maybe there are two or three of us who says, maybe this isn’t a good idea. But then we’re shouted down or talked over, so it rolls out. This definitely says that there were no people of color in the room to make those decisions. And if they were, no one listened to them.\u003c/p>\n\u003cp>\u003cstrong>On representation \u003c/strong>\u003c/p>\n\u003cp>I am of the camp of if you want good representation, you let those people speak for themselves. You set up the microphone, you check the levels, you get everything together, and then you get out of the way. Especially if you’re someone who has the resources to do that. And then we can take it from there. That’s what I think good representation is. It mostly comes from within the communities that are attempting to be represented because nobody knows it like us, right?\u003c/p>\n\u003cp>There are people who do do the work and they take the care and they show the research and they’re very sensitive to the nature, not only of the representation, but the context around the bad representation that has come before it. Cause you’re not just representing us in that moment, right? You’re fighting against this narrative that has been developed for decades and people don’t even take that into account. They’re just like, “Oh, well, you know, let me write this down and get this out there.” And maybe I don’t play into, you know, this sharp thing that people are aware of right now, but you miss the connotation of like maybe minstrelsy you know, from decades ago, that’s still very much felt in our community. So I think that good representation happens when we’re allowed to take the mic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Justine Kenin and adapted for the Web by Brianna Scott.\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=Author+L.L.+McKinney%3A+Barnes+%26+Noble+%27Diverse+Editions%27+Are+%27Literary+Blackface%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are so many ways to get this right, they had to look for a way to get this wrong.”\u003c/p>\n\u003cp>That’s author L.L. McKinney’s response to Barnes & Noble’s “Diverse Editions” campaign. McKinney’s most recent book, \u003cem>A Dream So Dark,\u003c/em> is a sequel to \u003cem>\u003ca href=\"https://www.npr.org/books/titles/651940128/a-blade-so-black\" target=\"_blank\" rel=\"noopener noreferrer\">A Blade So Black\u003c/a>\u003c/em>, a contemporary retelling of \u003cem>Alice in Wonderland\u003c/em> with a black female lead.\u003c/p>\n\u003cp>The bookselling chain announced this month that they were going to release classic books with new covers that reimagined protagonists as characters of color. These included \u003cem>Frankenstein\u003c/em>, \u003cem>Peter Pan\u003c/em> and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> among others—almost all books by white authors, about characters presumed to be white.\u003c/p>\n\u003cp>Black authors took to Twitter to express their criticism of the project, many of them, including McKinney, calling it “literary blackface.”\u003c/p>\n\u003cp>Barnes & Noble \u003ca href=\"https://twitter.com/BNBuzz/status/1225120163692937218\" target=\"_blank\" rel=\"noopener noreferrer\">released a statement on Twitter\u003c/a> on Wednesday, the day the book covers were supposed to be displayed at their Fifth Avenue store in Manhattan, saying they were no longer going forward with the campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the statement, the chain said “it was a project inspired by outwork with schools and was created in part to raise awareness and discussion during Black History Month, in which Barnes & Noble stores nationally will continue to highlight a wide selection of books to celebrate black history and great literature from writers of color.”\u003c/p>\n\u003cp>But what was supposed to be a celebration of diversity to kick off Black History Month turned into a moment where black writers weren’t actually part of that celebration. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Out of the 12 books chosen for the campaign, only one was written by a black author—\u003cem>The Count of Monte Cristo\u003c/em>, by Alexandre Dumas.\u003c/p>\n\u003cp>“It’s still a story by a white author, featuring a white character, told via the white gaze,” McKinney says. “And none of this has changed within the contents of the story itself. They’re essentially just slapping a cover on it to ‘celebrate diversity.’ But a lot of us felt that you’re just trying to cash in on the fact that it’s Black History Month, and now all of a sudden, black faces and brown faces will sell books. Just maybe one, two years ago, people were saying in meetings, ‘Yeah, you can’t put black people on covers. It’s not going to sell the book.'”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what Barnes & Noble could have done instead\u003c/strong>\u003c/p>\n\u003cp>Feature black people, that’s the beginning and end of it. If you’re wanting to put a spin on classics, feature classics that are by black and brown authors. Like Zora Neale Hurston. Toni Morrison. Give their covers updates and put them on your tables. Or if you want to do this thing where you connect to the ideas of the classic canon, we are out there writing reimaginings and retellings and putting ourselves in the narratives of these stories. Like \u003cem>Pride & Prejudice\u003c/em>. Like \u003cem>Alice in Wonderland\u003c/em>. Like \u003cem>Wizard of Oz\u003c/em>. We’re doing that, so feature those books if that’s the angle you want to go.\u003c/p>\n\u003cp>\u003cstrong>On diversity in book publishing\u003c/strong>\u003c/p>\n\u003cp>No one thinks they’re capable of making mistakes at this level. Especially mistakes like this. Because if you did think that that was a thing that could happen, you would have things in place and people in place to be able to prevent it from happening, right? I’ve been that person, you know, that one black voice, that one person of color in the room or maybe there are two or three of us who says, maybe this isn’t a good idea. But then we’re shouted down or talked over, so it rolls out. This definitely says that there were no people of color in the room to make those decisions. And if they were, no one listened to them.\u003c/p>\n\u003cp>\u003cstrong>On representation \u003c/strong>\u003c/p>\n\u003cp>I am of the camp of if you want good representation, you let those people speak for themselves. You set up the microphone, you check the levels, you get everything together, and then you get out of the way. Especially if you’re someone who has the resources to do that. And then we can take it from there. That’s what I think good representation is. It mostly comes from within the communities that are attempting to be represented because nobody knows it like us, right?\u003c/p>\n\u003cp>There are people who do do the work and they take the care and they show the research and they’re very sensitive to the nature, not only of the representation, but the context around the bad representation that has come before it. Cause you’re not just representing us in that moment, right? You’re fighting against this narrative that has been developed for decades and people don’t even take that into account. They’re just like, “Oh, well, you know, let me write this down and get this out there.” And maybe I don’t play into, you know, this sharp thing that people are aware of right now, but you miss the connotation of like maybe minstrelsy you know, from decades ago, that’s still very much felt in our community. So I think that good representation happens when we’re allowed to take the mic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Justine Kenin and adapted for the Web by Brianna Scott.\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=Author+L.L.+McKinney%3A+Barnes+%26+Noble+%27Diverse+Editions%27+Are+%27Literary+Blackface%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the past year, NPR has had some pretty big names come perform at the Tiny Desk: \u003ca href=\"https://www.npr.org/2019/07/29/732097345/lizzo-tiny-desk-concert\">Lizzo\u003c/a>, \u003ca href=\"https://www.npr.org/2020/01/29/800256839/jimmy-eat-world-tiny-desk-concert\">Jimmy Eat World\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/16/770318649/taylor-swift-tiny-desk-concert\">Taylor Swift\u003c/a>, to name a few.\u003c/p>\n\u003cp>While seeing these artists’ stripped-down sets is impressive, that’s not all the Tiny Desk is about. For me, what’s really magical and memorable about Tiny Desk concerts is discovering and connecting with musicians our audience likely doesn’t know and then getting to share them with our listeners.\u003c/p>\n\u003cp>We started the Tiny Desk Contest in 2014 in an effort to do even more of that: discover and share great unknown artists. Since the Contest’s launch, we’ve had \u003ca href=\"http://tinydeskcontest.npr.org/#previous-winner\">five outstanding winners\u003c/a>, invited \u003ca href=\"https://www.youtube.com/playlist?list=PLy2PCKGkKRVbn9Rsn99a4VhSGWI4SQrm5\">even more Contest artists\u003c/a> to play at the Desk and heard from countless \u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/22/725412654/tiny-desk-top-shelf\">artists we love\u003c/a> along the way. We’re excited today to announce that the 2020 Tiny Desk Contest is here.\u003c/p>\n\u003cp>Here’s what you need to know:\u003c/p>\n\u003cul>\n\u003cli>We’ll start accepting Contest entries next Tuesday, Feb. 11 at 10 a.m. ET. Entries close at midnight ET on Monday, March 30.\u003c/li>\n\u003cli>To be eligible to win, you must be an unsigned musician and at least 18 years old.\u003c/li>\n\u003cli>To enter, record a video of yourself playing one original song at a desk (any desk will do!) and upload it to YouTube.\u003c/li>\n\u003cli>Send us your song by submitting your video at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>.\u003c/li>\n\u003cli>The winner will be chosen by a panel of judges. I’ll be joined by some great Tiny Desk alums: \u003ca href=\"https://www.npr.org/2019/10/15/768439696/brittany-howard-tiny-desk-concert\">Brittany Howard\u003c/a>, \u003ca href=\"https://www.npr.org/2015/09/22/441220834/gina-chavez-tiny-desk-concert\">Gina Chavez\u003c/a> and last year’s winner, \u003ca href=\"https://www.npr.org/2019/06/03/728694436/quinn-christopherson-tiny-desk-concert\">Quinn Christopherson\u003c/a>. Bobby Carter, Tiny Desk concert producer extraordinaire, will be part of the team, plus \u003ca href=\"https://www.npr.org/people/774752634/raina-douris\">Raina Douris\u003c/a> of \u003ca href=\"https://xpn.org/\">WXPN\u003c/a>‘s \u003cem>World Cafe\u003c/em> and \u003ca href=\"https://radiomilwaukee.org/about-us/station-staff/tarik-moody/\">Tarik Moody\u003c/a> of \u003ca href=\"https://radiomilwaukee.org/\">88Nine Radio Milwaukee\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>If you want to make sure your video is eligible to win, you can take this \u003ca href=\"https://tinydeskcontest.npr.org/2020/rules-quiz\">easy quiz\u003c/a> or read the \u003ca href=\"https://tinydeskcontest.npr.org/rules\">official rules\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you win, you’ll play a Tiny Desk concert and then go on tour across the U.S. with NPR Music. And even though we only choose one winner, we feature artists from the \u003ca href=\"https://www.facebook.com/groups/tinydeskcontest/\">Contest community\u003c/a> in plenty of other ways: on \u003ca href=\"https://www.npr.org/sections/allsongs/\">our blog\u003c/a>, in a Contest \u003ca href=\"https://www.youtube.com/watch?v=RtrRzQLxWP0\">supercut video\u003c/a>, on NPR’s \u003ca href=\"https://www.npr.org/sections/allsongs/2019/06/29/736747407/these-tiny-desk-contest-entrants-bring-mini-symphonies-to-the-nyc-subway\">newsmagazines\u003c/a> and at the Tiny Desk Contest On The Road tour stops.\u003c/p>\n\u003cp>Speaking of tour stops, this year, we’re expanding our tour to 10 cities! We’ll be visiting Atlanta, Chicago, Denver, Los Angeles, Nashville, New York, Philadelphia, Phoenix and Seattle. We hope to see you there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We can’t wait to discover even more great music this year and are looking forward to meeting our winner. Could it be you?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the past year, NPR has had some pretty big names come perform at the Tiny Desk: \u003ca href=\"https://www.npr.org/2019/07/29/732097345/lizzo-tiny-desk-concert\">Lizzo\u003c/a>, \u003ca href=\"https://www.npr.org/2020/01/29/800256839/jimmy-eat-world-tiny-desk-concert\">Jimmy Eat World\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/16/770318649/taylor-swift-tiny-desk-concert\">Taylor Swift\u003c/a>, to name a few.\u003c/p>\n\u003cp>While seeing these artists’ stripped-down sets is impressive, that’s not all the Tiny Desk is about. For me, what’s really magical and memorable about Tiny Desk concerts is discovering and connecting with musicians our audience likely doesn’t know and then getting to share them with our listeners.\u003c/p>\n\u003cp>We started the Tiny Desk Contest in 2014 in an effort to do even more of that: discover and share great unknown artists. Since the Contest’s launch, we’ve had \u003ca href=\"http://tinydeskcontest.npr.org/#previous-winner\">five outstanding winners\u003c/a>, invited \u003ca href=\"https://www.youtube.com/playlist?list=PLy2PCKGkKRVbn9Rsn99a4VhSGWI4SQrm5\">even more Contest artists\u003c/a> to play at the Desk and heard from countless \u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/22/725412654/tiny-desk-top-shelf\">artists we love\u003c/a> along the way. We’re excited today to announce that the 2020 Tiny Desk Contest is here.\u003c/p>\n\u003cp>Here’s what you need to know:\u003c/p>\n\u003cul>\n\u003cli>We’ll start accepting Contest entries next Tuesday, Feb. 11 at 10 a.m. ET. Entries close at midnight ET on Monday, March 30.\u003c/li>\n\u003cli>To be eligible to win, you must be an unsigned musician and at least 18 years old.\u003c/li>\n\u003cli>To enter, record a video of yourself playing one original song at a desk (any desk will do!) and upload it to YouTube.\u003c/li>\n\u003cli>Send us your song by submitting your video at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>.\u003c/li>\n\u003cli>The winner will be chosen by a panel of judges. I’ll be joined by some great Tiny Desk alums: \u003ca href=\"https://www.npr.org/2019/10/15/768439696/brittany-howard-tiny-desk-concert\">Brittany Howard\u003c/a>, \u003ca href=\"https://www.npr.org/2015/09/22/441220834/gina-chavez-tiny-desk-concert\">Gina Chavez\u003c/a> and last year’s winner, \u003ca href=\"https://www.npr.org/2019/06/03/728694436/quinn-christopherson-tiny-desk-concert\">Quinn Christopherson\u003c/a>. Bobby Carter, Tiny Desk concert producer extraordinaire, will be part of the team, plus \u003ca href=\"https://www.npr.org/people/774752634/raina-douris\">Raina Douris\u003c/a> of \u003ca href=\"https://xpn.org/\">WXPN\u003c/a>‘s \u003cem>World Cafe\u003c/em> and \u003ca href=\"https://radiomilwaukee.org/about-us/station-staff/tarik-moody/\">Tarik Moody\u003c/a> of \u003ca href=\"https://radiomilwaukee.org/\">88Nine Radio Milwaukee\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>If you want to make sure your video is eligible to win, you can take this \u003ca href=\"https://tinydeskcontest.npr.org/2020/rules-quiz\">easy quiz\u003c/a> or read the \u003ca href=\"https://tinydeskcontest.npr.org/rules\">official rules\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you win, you’ll play a Tiny Desk concert and then go on tour across the U.S. with NPR Music. And even though we only choose one winner, we feature artists from the \u003ca href=\"https://www.facebook.com/groups/tinydeskcontest/\">Contest community\u003c/a> in plenty of other ways: on \u003ca href=\"https://www.npr.org/sections/allsongs/\">our blog\u003c/a>, in a Contest \u003ca href=\"https://www.youtube.com/watch?v=RtrRzQLxWP0\">supercut video\u003c/a>, on NPR’s \u003ca href=\"https://www.npr.org/sections/allsongs/2019/06/29/736747407/these-tiny-desk-contest-entrants-bring-mini-symphonies-to-the-nyc-subway\">newsmagazines\u003c/a> and at the Tiny Desk Contest On The Road tour stops.\u003c/p>\n\u003cp>Speaking of tour stops, this year, we’re expanding our tour to 10 cities! We’ll be visiting Atlanta, Chicago, Denver, Los Angeles, Nashville, New York, Philadelphia, Phoenix and Seattle. We hope to see you there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We can’t wait to discover even more great music this year and are looking forward to meeting our winner. Could it be you?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \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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"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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"source": "kqed",
"order": 9
},
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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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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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"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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},
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"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"
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},
"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": {
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"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"
},
"link": "/radio/program/masters-of-scale",
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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/",
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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