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"content": "\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Patti+Smith+Weaves+Between+Worlds+Real+And+Imagined+In+%27Year+Of+The+Monkey%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On February 4, 1999, on Wheeler Avenue in the Soundview section of the Bronx, Amadou Diallo, an immigrant from Guinea, was killed by four plainclothes members of the New York Police Department’s Street Crimes Unit. Diallo, who was unarmed, was standing on the front stoop of the building where he lived and reaching for his wallet when the officers started shooting. They fired forty-one bullets, nineteen of which hit Diallo.\u003c/p>\n\u003cp>In response to the shooting, Bruce Springsteen released “American Skin (41 Shots),” a minor- key ballad, more anguished than angry, which applied the balms of empathy and narrative economy to a raw social wound. The central verse dramatizes what African American families call “the talk.” As a mother, Lena, prepares her son, Charles, for school, she reminds him: “You’ve got to understand the rules / if an officer stops you, promise me, you’ll always be polite / and that you’ll never ever run away / and promise mama you’ll keep your hands in sight.”\u003c/p>\n\u003cp>The following summer, I managed to score seats up in the rafters of Madison Square Garden for one of the last shows in the E Street Band’s epic reunion tour. A few rows ahead of me at that show, there were two guys [who] were bigger Bruce fans than I was, or at least fans of longer standing and purer pedigree.\u003c/p>\n\u003cp>But this isn’t really about me. It’s about those other guys, who I might not have noticed, and would never have remembered nearly twenty years after the fact, if not for what I’m about to describe. They looked a little older than I was: closer to forty than thirty. They were meatier, louder, probably drunker and having a great time—dancing, pumping their fists, exchanging high fives with strangers, singing along to every chorus and most of the verses. They were not self-conscious at all.\u003c/p>\n\u003cp>At least not until the first mournful notes of “American Skin.” I don’t remember if Bruce introduced it or if anyone needed reminding. The officers had been acquitted four months earlier, in February 2000. Diallo’s mother, Kadijatou, had filed a suit against the city in April. Maybe he said something about that, or maybe everyone remembered when he sang the line “forty-one shots.” As soon as he did, the two men turned their backs to the stage, clasped their hands in front of them and bowed their heads. They didn’t boo and they didn’t walk out but stood silently, registering their protest at the Boss’s protest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aQMqWAiWPMs\u003c/p>\n\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. Of course he didn’t have the power to fix racism, to resolve the contradictions of class and ideology, to move the world toward justice. But the reach of his empathy was wide enough to extend to both Amadou Diallo’s family and, if not to his killers, surely to their families and supporters. The politics that would take any criticism of the police as a moral provocation, while far from Springsteen’s own beliefs, is in no way alien to his imagination. He might not have agreed with those guys standing with their backs turned but he understood them. And their understanding of \u003cem>him\u003c/em> was what authorized their protest. The concert created a civic space in which two antithetical sentiments could coexist and communicate with each other. Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca. \u003ccite>(Rutgers University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Is a dream a lie if it don’t come true?” As I write this, Obama’s liberal ideals have fallen on hard times. Maybe they were illusions to begin with, each fatally underestimating the depth and jaggedness of the fissures, the intensity of the fury, the tenacity of the tribal ties that bind. And maybe too, some of us invested too much faith in the charisma of our leaders, and rested too comfortably in the conviction of our own goodness.\u003c/p>\n\u003cp>Or maybe we were listening wrong, missing the overtones of irony, the notes of tragedy, longing, and defeat that sounded through even the most ringing and rousing choruses. The liberal Springsteen has been a comforting fantasy, but the radical Springsteen—the poet of work, violence, futility, and all-in existential revolt—needs to be recovered, just as we are being forced to recall that the character of our common civic life has always been a matter of life and death. “You can get killed just for living in your American skin.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This is an edited excerpt of a longer work taken from \u003c/em>Long Walk Home: Reflections on Bruce Springsteen\u003cem>, a collection of essays from Rutgers University Press examining the artist, now in his 70th year, and his career. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Disclosure: NPR Music senior director Lauren Onkey has a piece included in the collection.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=The+Ties+That+Bind%3A+Bruce+Springsteen+And+The+Wide+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "A Springsteen concert \"created a civic space in which two antithetical sentiments could coexist and communicate with each other,\" writes A.O. Scott. The Boss turns 70 years old today.",
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"title": "The Ties That Bind: Bruce Springsteen and the Wide Divide | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On February 4, 1999, on Wheeler Avenue in the Soundview section of the Bronx, Amadou Diallo, an immigrant from Guinea, was killed by four plainclothes members of the New York Police Department’s Street Crimes Unit. Diallo, who was unarmed, was standing on the front stoop of the building where he lived and reaching for his wallet when the officers started shooting. They fired forty-one bullets, nineteen of which hit Diallo.\u003c/p>\n\u003cp>In response to the shooting, Bruce Springsteen released “American Skin (41 Shots),” a minor- key ballad, more anguished than angry, which applied the balms of empathy and narrative economy to a raw social wound. The central verse dramatizes what African American families call “the talk.” As a mother, Lena, prepares her son, Charles, for school, she reminds him: “You’ve got to understand the rules / if an officer stops you, promise me, you’ll always be polite / and that you’ll never ever run away / and promise mama you’ll keep your hands in sight.”\u003c/p>\n\u003cp>The following summer, I managed to score seats up in the rafters of Madison Square Garden for one of the last shows in the E Street Band’s epic reunion tour. A few rows ahead of me at that show, there were two guys [who] were bigger Bruce fans than I was, or at least fans of longer standing and purer pedigree.\u003c/p>\n\u003cp>But this isn’t really about me. It’s about those other guys, who I might not have noticed, and would never have remembered nearly twenty years after the fact, if not for what I’m about to describe. They looked a little older than I was: closer to forty than thirty. They were meatier, louder, probably drunker and having a great time—dancing, pumping their fists, exchanging high fives with strangers, singing along to every chorus and most of the verses. They were not self-conscious at all.\u003c/p>\n\u003cp>At least not until the first mournful notes of “American Skin.” I don’t remember if Bruce introduced it or if anyone needed reminding. The officers had been acquitted four months earlier, in February 2000. Diallo’s mother, Kadijatou, had filed a suit against the city in April. Maybe he said something about that, or maybe everyone remembered when he sang the line “forty-one shots.” As soon as he did, the two men turned their backs to the stage, clasped their hands in front of them and bowed their heads. They didn’t boo and they didn’t walk out but stood silently, registering their protest at the Boss’s protest.\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/aQMqWAiWPMs'\n title='//www.youtube.com/embed/aQMqWAiWPMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. Of course he didn’t have the power to fix racism, to resolve the contradictions of class and ideology, to move the world toward justice. But the reach of his empathy was wide enough to extend to both Amadou Diallo’s family and, if not to his killers, surely to their families and supporters. The politics that would take any criticism of the police as a moral provocation, while far from Springsteen’s own beliefs, is in no way alien to his imagination. He might not have agreed with those guys standing with their backs turned but he understood them. And their understanding of \u003cem>him\u003c/em> was what authorized their protest. The concert created a civic space in which two antithetical sentiments could coexist and communicate with each other. Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca. \u003ccite>(Rutgers University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Is a dream a lie if it don’t come true?” As I write this, Obama’s liberal ideals have fallen on hard times. Maybe they were illusions to begin with, each fatally underestimating the depth and jaggedness of the fissures, the intensity of the fury, the tenacity of the tribal ties that bind. And maybe too, some of us invested too much faith in the charisma of our leaders, and rested too comfortably in the conviction of our own goodness.\u003c/p>\n\u003cp>Or maybe we were listening wrong, missing the overtones of irony, the notes of tragedy, longing, and defeat that sounded through even the most ringing and rousing choruses. The liberal Springsteen has been a comforting fantasy, but the radical Springsteen—the poet of work, violence, futility, and all-in existential revolt—needs to be recovered, just as we are being forced to recall that the character of our common civic life has always been a matter of life and death. “You can get killed just for living in your American skin.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This is an edited excerpt of a longer work taken from \u003c/em>Long Walk Home: Reflections on Bruce Springsteen\u003cem>, a collection of essays from Rutgers University Press examining the artist, now in his 70th year, and his career. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Disclosure: NPR Music senior director Lauren Onkey has a piece included in the collection.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=The+Ties+That+Bind%3A+Bruce+Springsteen+And+The+Wide+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
"headTitle": "‘Fleabag’ and ‘Game Of Thrones’ Win Big at the Emmys | KQED",
"content": "\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnyA-9r2Fro\u003c/p>\n\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dAXJir9knco\u003c/p>\n\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6OXS7uVU0xA\u003c/p>\n\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VpxBswBrQ2w\u003c/p>\n\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UbMUl57nDAQ\u003c/p>\n\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U2qO9UdA6WA\u003c/p>\n\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Phoebe Waller-Bridge's 'Fleabag' and the departing 'Game of Thrones' both came up big Sunday night, as did 'Chernobyl' and 'The Marvelous Mrs. Maisel'.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\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/hnyA-9r2Fro'\n title='//www.youtube.com/embed/hnyA-9r2Fro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\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/dAXJir9knco'\n title='//www.youtube.com/embed/dAXJir9knco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\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/6OXS7uVU0xA'\n title='//www.youtube.com/embed/6OXS7uVU0xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\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/VpxBswBrQ2w'\n title='//www.youtube.com/embed/VpxBswBrQ2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\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/UbMUl57nDAQ'\n title='//www.youtube.com/embed/UbMUl57nDAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\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/U2qO9UdA6WA'\n title='//www.youtube.com/embed/U2qO9UdA6WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With its austere surfaces and jaundiced view of humanity’s interplanetary destiny, James Gray’s stirring sci-fi epic \u003cem>Ad Astra\u003c/em> can’t help but evoke Stanley Kubrick’s \u003cem>2001: A Space Odyssey\u003c/em>, the paterfamilias of all “serious” space movies. But in fact it’s a closer cousin to \u003cem>another\u003c/em> long-delayed, wildly over-budget spectacle that initially fared better with ticket-buyers than critics, only to be revealed in time as a masterpiece: Francis Ford Coppola’s \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Like Coppola’s surreal Vietnam War movie, \u003cem>Ad Astra\u003c/em> is told to us by a haunted man on a mission into the unknown. After a thrilling set piece involving an unplanned high-altitude skydive from the “International Space Antenna,” Brad Pitt’s Major Roy McBride is dispatched to investigate the cause of a series of destructive cosmic ray bursts emanating from Neptune.\u003c/p>\n\u003cp>McBride is given the task because his superiors believe these disruptions might somehow have been caused by his father (Tommy Lee Jones), commander of an exploration mission that was presumed lost some 16 years earlier. In the event the old man has somehow survived and gone all Colonel Kurtz on them, they’re hoping his baby boy might be able to talk him down.\u003c/p>\n\u003cp>https://youtu.be/P6AaSMfXHbA\u003c/p>\n\u003cp>One needn’t have seen \u003cem>2001\u003c/em>—or for that matter, last year’s undervalued Neil Armstrong biopic \u003cem>First Man\u003c/em>—to grok that emotional availability is the one area in which McBride is seriously deficient. (His heart rate has never risen above 80, his dossier says.) In space, no one can hear you cry…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>… though they \u003cem>are\u003c/em> sometimes privy to your internal monologue. “We are the world-eaters,” McBride laments in voiceover as he takes in the Applebees and Hudson News shops that pimple the near side of the moon in the mid-to-late 21st century. The only thing \u003cem>Ad Astra\u003c/em> shares with the comparatively upbeat adventure \u003cem>The Martian\u003c/em> is a notion we might be wiser to leave space exploration to our robots. We see McBride file a psychological self-evaluation each time he’s getting ready to launch; only if the A.I. concurs with his assessment that he’s fit to fly is he permitted to go.\u003c/p>\n\u003cp>Pitt is in every scene and frequently in close-up; now in his mid-50s, his face continues its preternaturally slow erosion from handsome to interesting. This is his second admirably interior performance in two months, but the laconic swagger he brought to \u003cem>Once Upon a Time… in Hollywood\u003c/em> is long gone. He plays McBride as a contemplative spaceman in the Armstrong mold; not one of those swaggering jet jocks Tom Wolfe wrote about in \u003cem>The Right Stuff\u003c/em>.\u003c/p>\n\u003cp>Gray and co-writer Ethan Gross are shrewd enough to consider that the qualities that made McBride a washout as a husband (Liv Tyler appears briefly as his estranged spouse in a near-silent role) make him an ideal candidate for the privation and solitude of space travel. Like Gray’s most recent picture, a soulful adaptation of the nonfiction book \u003cem>The Lost City of Z\u003c/em>, \u003cem>Ad Astra\u003c/em> is interested in the psychology of explorers. 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This film has big philosophical differences with those two, but it makes its observations about our place in the cosmos with equal grace, even majesty. If the arc of the moral universe bends toward justice, the arc of the physical universe might bend towards just us. That doesn’t mean we stop seeking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With its austere surfaces and jaundiced view of humanity’s interplanetary destiny, James Gray’s stirring sci-fi epic \u003cem>Ad Astra\u003c/em> can’t help but evoke Stanley Kubrick’s \u003cem>2001: A Space Odyssey\u003c/em>, the paterfamilias of all “serious” space movies. But in fact it’s a closer cousin to \u003cem>another\u003c/em> long-delayed, wildly over-budget spectacle that initially fared better with ticket-buyers than critics, only to be revealed in time as a masterpiece: Francis Ford Coppola’s \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Like Coppola’s surreal Vietnam War movie, \u003cem>Ad Astra\u003c/em> is told to us by a haunted man on a mission into the unknown. After a thrilling set piece involving an unplanned high-altitude skydive from the “International Space Antenna,” Brad Pitt’s Major Roy McBride is dispatched to investigate the cause of a series of destructive cosmic ray bursts emanating from Neptune.\u003c/p>\n\u003cp>McBride is given the task because his superiors believe these disruptions might somehow have been caused by his father (Tommy Lee Jones), commander of an exploration mission that was presumed lost some 16 years earlier. In the event the old man has somehow survived and gone all Colonel Kurtz on them, they’re hoping his baby boy might be able to talk him down.\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/P6AaSMfXHbA'\n title='//www.youtube.com/embed/P6AaSMfXHbA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One needn’t have seen \u003cem>2001\u003c/em>—or for that matter, last year’s undervalued Neil Armstrong biopic \u003cem>First Man\u003c/em>—to grok that emotional availability is the one area in which McBride is seriously deficient. (His heart rate has never risen above 80, his dossier says.) In space, no one can hear you cry…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>… though they \u003cem>are\u003c/em> sometimes privy to your internal monologue. “We are the world-eaters,” McBride laments in voiceover as he takes in the Applebees and Hudson News shops that pimple the near side of the moon in the mid-to-late 21st century. The only thing \u003cem>Ad Astra\u003c/em> shares with the comparatively upbeat adventure \u003cem>The Martian\u003c/em> is a notion we might be wiser to leave space exploration to our robots. We see McBride file a psychological self-evaluation each time he’s getting ready to launch; only if the A.I. concurs with his assessment that he’s fit to fly is he permitted to go.\u003c/p>\n\u003cp>Pitt is in every scene and frequently in close-up; now in his mid-50s, his face continues its preternaturally slow erosion from handsome to interesting. This is his second admirably interior performance in two months, but the laconic swagger he brought to \u003cem>Once Upon a Time… in Hollywood\u003c/em> is long gone. He plays McBride as a contemplative spaceman in the Armstrong mold; not one of those swaggering jet jocks Tom Wolfe wrote about in \u003cem>The Right Stuff\u003c/em>.\u003c/p>\n\u003cp>Gray and co-writer Ethan Gross are shrewd enough to consider that the qualities that made McBride a washout as a husband (Liv Tyler appears briefly as his estranged spouse in a near-silent role) make him an ideal candidate for the privation and solitude of space travel. Like Gray’s most recent picture, a soulful adaptation of the nonfiction book \u003cem>The Lost City of Z\u003c/em>, \u003cem>Ad Astra\u003c/em> is interested in the psychology of explorers. And while the filmmaker is careful to punctuate his existential walkabout with expertly staged feats of derring-do—there’s a pirate raid on a convoy of moon buggies, and it’s \u003cem>awesome\u003c/em>—he and his collaborators have done enough homework to let us suspend our disbelief without feeling like we’re selling it cheap. Their predictions of how commerce and geopolitics might play out on the moon in perhaps 50 years’ time are woven into the narrative rather than ladled on. And the movie’s analog aesthetic—\u003cem>Ad Astra\u003c/em> was shot on photochemical film, using practical sets wherever feasible—gives it a lens-flaring verisimilitude that makes it feel more substantial than all those space-set Marvel movies, for example.\u003c/p>\n\u003cp>Although Tyler is barely in the movie, the rest of the supporting cast delivers the requisite gravitas: Along with elder spacemen Jones and Donald Sutherland, there are brief but memorable appearances from Ruth Negga as the administrator of the American outpost on Mars and Loren Dean as a clay-footed rocket crewman.\u003c/p>\n\u003cp>\u003cem>Ad Astra\u003c/em> borrows some below-the-line talent from other sterling genre specimens of recent vintage: Cinematographer Hoyte Van Hoytema shot \u003cem>Interstellar\u003c/em> five years ago, while composer Max Richter (who shared scoring duties with Lorne Balfe) did the music for \u003cem>Arrival\u003c/em>. This film has big philosophical differences with those two, but it makes its observations about our place in the cosmos with equal grace, even majesty. If the arc of the moral universe bends toward justice, the arc of the physical universe might bend towards just us. That doesn’t mean we stop seeking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There was a time, around the turn of the century, when Mandy Moore the pop singer and Mandy Moore the actor existed simultaneously, touring with \u003ca href=\"https://www.npr.org/artists/120239634/-nsync\">*NSYNC\u003c/a> and starring alongside Anne Hathaway in \u003cem>The Princess Diaries\u003c/em>. But as she outgrew both bubblegum pop and bubblegum roles, so to speak, her simultaneous careers became richer, her talent deeper. Moore’s albums, especially, showcased a sophisticated singer-turned-songwriter invested in pop music’s history, for which she never really got much credit.\u003c/p>\n\u003cp>Moore is now the star of the NBC family drama \u003cem>This Is Us \u003c/em>(she \u003ca href=\"https://www.youtube.com/watch?v=nQknS1AVyAo\">covered\u003c/a> a Linda Ronstadt song for that show’s soundtrack, too) and the voice of Rapunzel on Disney’s \u003cem>Tangled: The Series,\u003c/em> but it’s been a decade since she released the album \u003cem>Amanda Leigh\u003c/em>.\u003c/p>\n\u003cp>“When I Wasn’t Watching” was co-written with longtime collaborator Mike Viola, \u003ca href=\"https://www.npr.org/artists/113932444/dawes\">Dawes\u003c/a> frontman (and husband) Taylor Goldsmith and Jason Boesel, the former drummer of \u003ca href=\"https://www.npr.org/artists/14984051/rilo-kiley\">Rilo Kiley\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, and \u003ca href=\"https://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>‘s Mystic Valley Band. The song sways with a \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a> energy—fringe and ruffles all the way down—as Moore reflects, with a resilient Nicks-ian bittersweetness, on who she became while not paying attention to herself: “My favorite version of me disappeared/ Through longer days and shorter years / So where was I when this was going down?/ Assumed the world would come around.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=143&v=e5yM8lHoOAk\u003c/p>\n\u003cp>Moore’s new album will be released sometime in 2020, via Verve Forecast.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mandy+Moore+Releases+First+Original+Song+In+10+Years%2C+%27When+I+Wasn%27t+Watching%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was a time, around the turn of the century, when Mandy Moore the pop singer and Mandy Moore the actor existed simultaneously, touring with \u003ca href=\"https://www.npr.org/artists/120239634/-nsync\">*NSYNC\u003c/a> and starring alongside Anne Hathaway in \u003cem>The Princess Diaries\u003c/em>. But as she outgrew both bubblegum pop and bubblegum roles, so to speak, her simultaneous careers became richer, her talent deeper. Moore’s albums, especially, showcased a sophisticated singer-turned-songwriter invested in pop music’s history, for which she never really got much credit.\u003c/p>\n\u003cp>Moore is now the star of the NBC family drama \u003cem>This Is Us \u003c/em>(she \u003ca href=\"https://www.youtube.com/watch?v=nQknS1AVyAo\">covered\u003c/a> a Linda Ronstadt song for that show’s soundtrack, too) and the voice of Rapunzel on Disney’s \u003cem>Tangled: The Series,\u003c/em> but it’s been a decade since she released the album \u003cem>Amanda Leigh\u003c/em>.\u003c/p>\n\u003cp>“When I Wasn’t Watching” was co-written with longtime collaborator Mike Viola, \u003ca href=\"https://www.npr.org/artists/113932444/dawes\">Dawes\u003c/a> frontman (and husband) Taylor Goldsmith and Jason Boesel, the former drummer of \u003ca href=\"https://www.npr.org/artists/14984051/rilo-kiley\">Rilo Kiley\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, and \u003ca href=\"https://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>‘s Mystic Valley Band. The song sways with a \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a> energy—fringe and ruffles all the way down—as Moore reflects, with a resilient Nicks-ian bittersweetness, on who she became while not paying attention to herself: “My favorite version of me disappeared/ Through longer days and shorter years / So where was I when this was going down?/ Assumed the world would come around.”\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/e5yM8lHoOAk'\n title='//www.youtube.com/embed/e5yM8lHoOAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moore’s new album will be released sometime in 2020, via Verve Forecast.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mandy+Moore+Releases+First+Original+Song+In+10+Years%2C+%27When+I+Wasn%27t+Watching%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 4:18 p.m. Monday\u003c/strong>\u003c/p>\n\u003cp>Ric Ocasek, the lead singer of the rock band The Cars, died Sunday in New York; he was found unconscious Sunday afternoon at his townhouse in Manhattan. A New York Police Department spokesman confirmed Ocasek’s death to NPR. There is some confusion about Ocasek’s age: The NYPD said that he was 75; public records list his age as 70 years old.\u003c/p>\n\u003cp>On Monday, the New York City Office of Chief Medical Examiner told NPR in a statement that Ocasek died of heart disease, specifically hypertensive and atherosclerotic cardiovascular disease, with pulmonary emphysema as a contributing condition. (OCME also lists the singer’s age as 75.)\u003c/p>\n\u003cp>The Boston-based band was inducted into the Rock & Roll Hall of Fame in 2018; the Rock Hall \u003ca href=\"https://www.rockhall.com/inductees/cars?gclid=CjwKCAjwwvfrBRBIEiwA2nFiPR6ZqPqJ-1nBQ_Y-sHi_5GAAAyzL74sTlm2Y4J22xBC6I6tI1upsWhoCNuoQAvD_BwE\">called\u003c/a> The Cars “the ultimate New Wave dream machine: a hook-savvy super-charged quintet that fused 60s pop, 70s glam and avant-rock minimalism into a decade of dashboard-radio nirvana.”\u003c/p>\n\u003cp>[aside tag='rock, rock-n-roll' label='More Stories For You']\u003c/p>\n\u003cp>Ocasek — The Cars’ lead singer, guitarist and songwriter — was born in Baltimore (as Richard Otcasek) and raised in Cleveland. He co-founded the group with Benjamin Orr, a bassist and vocalist with whom he had begun playing in Ohio. The two began traveling as a duo before landing in Boston. The Cars came together in 1976 with three other musicians: guitarist Elliot Easton, keyboard player Greg Hawkes and drummer David Robinson.\u003c/p>\n\u003cp>Within a year, the group was signed to Elektra. During the initial wave of publicity for their eponymous debut album, then-\u003cem>Rolling Stone \u003c/em>critic Jon Pareles \u003ca href=\"https://www.rollingstone.com/music/music-news/the-cars-ric-ocasek-boston-new-wave-band-cover-176467/\">predicted\u003c/a> the band’s lasting appeal. He wrote: “Everybody liked it: New Wavers recognized Ocasek’s Velvet Underground debts and the cunning ambivalence of his lyrics, while rock fans and radio programmers picked up on the catchy tunes and meticulous arrangements.”\u003c/p>\n\u003cp>Several cuts from \u003cem>The Cars\u003c/em> became instant radio staples, including “Just What I Needed,” “Good Times Roll,” “My Best Friend’s Girl” and “You’re All I’ve Got Tonight.” Each of the group’s next four albums emerged as huge commercial successes as well.\u003c/p>\n\u003cp>But even at its most Top 40-friendly, The Cars wove offbeat, New Wave elements into its sound and look that were a perfect match for the MTV age, such as in 1984’s “\u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\">You Might Think\u003c/a>,” which won the first-ever Video of the Year honor at the MTV Video Music Awards.\u003c/p>\n\u003cp>Ocasek also worked in A&R and produced work by New Wave-era peers like Suicide and Romeo Void. The Cars broke up in 1988, but Ocasek’s influence in rock extended well beyond the apex of the group’s career. In addition to releasing half a dozen solo albums, he worked as a producer for leading bands of a younger generation, including Weezer, No Doubt, Guided by Voices and Bad Religion. Orr died of pancreatic cancer in 2000, but in 2011, the surviving members of The Cars reunited and released a new album, \u003cem>Move Like This\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ocasek — The Cars’ lead singer, guitarist and songwriter — was born in Baltimore (as Richard Otcasek) and raised in Cleveland. He co-founded the group with Benjamin Orr, a bassist and vocalist with whom he had begun playing in Ohio. The two began traveling as a duo before landing in Boston. The Cars came together in 1976 with three other musicians: guitarist Elliot Easton, keyboard player Greg Hawkes and drummer David Robinson.\u003c/p>\n\u003cp>Within a year, the group was signed to Elektra. During the initial wave of publicity for their eponymous debut album, then-\u003cem>Rolling Stone \u003c/em>critic Jon Pareles \u003ca href=\"https://www.rollingstone.com/music/music-news/the-cars-ric-ocasek-boston-new-wave-band-cover-176467/\">predicted\u003c/a> the band’s lasting appeal. He wrote: “Everybody liked it: New Wavers recognized Ocasek’s Velvet Underground debts and the cunning ambivalence of his lyrics, while rock fans and radio programmers picked up on the catchy tunes and meticulous arrangements.”\u003c/p>\n\u003cp>Several cuts from \u003cem>The Cars\u003c/em> became instant radio staples, including “Just What I Needed,” “Good Times Roll,” “My Best Friend’s Girl” and “You’re All I’ve Got Tonight.” Each of the group’s next four albums emerged as huge commercial successes as well.\u003c/p>\n\u003cp>But even at its most Top 40-friendly, The Cars wove offbeat, New Wave elements into its sound and look that were a perfect match for the MTV age, such as in 1984’s “\u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\">You Might Think\u003c/a>,” which won the first-ever Video of the Year honor at the MTV Video Music Awards.\u003c/p>\n\u003cp>Ocasek also worked in A&R and produced work by New Wave-era peers like Suicide and Romeo Void. The Cars broke up in 1988, but Ocasek’s influence in rock extended well beyond the apex of the group’s career. In addition to releasing half a dozen solo albums, he worked as a producer for leading bands of a younger generation, including Weezer, No Doubt, Guided by Voices and Bad Religion. Orr died of pancreatic cancer in 2000, but in 2011, the surviving members of The Cars reunited and released a new album, \u003cem>Move Like This\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>[aside tag='if-cities-could-dance' label='WATCH: If Cities Could Dance']\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>[aside tag='immigration' label='Stories For You']\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QTIkUzkbzQk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uhd3lo_IWJc\u003c/p>\n\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\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/QTIkUzkbzQk'\n title='//www.youtube.com/embed/QTIkUzkbzQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\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/Uhd3lo_IWJc'\n title='//www.youtube.com/embed/Uhd3lo_IWJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. 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"title": "'Audience Of One' Aims To Show How TV Shaped Donald Trump—And Led To His Rise",
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"content": "\u003cp>Dwight Eisenhower “became president by winning the war in the European theater,” writes James Poniewozik in his new book \u003cem>Audience of One: Donald Trump, Television, and the Fracturing of America\u003c/em>. “Donald Trump became president by winning the 9 p.m. time slot on NBC.”\u003c/p>\n\u003cp>But Trump isn’t just \u003cem>on\u003c/em> TV, according to Poniewozik. He \u003cem>is \u003c/em>TV. Over the course of his life, Trump “achieved symbiosis with the medium,” he argues. “Its impulses were his impulses; its appetites were his appetites; its mentality was his mentality.”\u003c/p>\n\u003cp>Poniewozik does not, of course, mean all TV. Trump is not \u003cem>Gilmore Girls\u003c/em>. Trump is not the \u003cem>Great British Bake Off\u003c/em> or \u003cem>Friday Night Lights\u003c/em> or \u003cem>Frasier\u003c/em> or \u003cem>Glee\u003c/em>, or any kind of TV show grounded in a presumption of empathy for other people. Poniewozik makes the convincing case that the more Darwinian genres of TV—reality, sports, cable news—have legible, internally coherent moral teachings and ideologies, and that these both shaped Trump and helped create the cultural conditions for his rise. Those messages include:\u003c/p>\n\u003cblockquote class=\"edTag\">\n\u003cdiv>\n“That life is a constant, zero-sum competition, and if you are not beating someone then someone is beating you. (The lesson of sports and game shows.) That the best response to any controversy or crisis is to heighten the conflict. (The lesson of TV news.) That people perform best when set to fight against one another for survival. (The lesson of \u003cem>The Apprentice\u003c/em>.) That there is no history or objective truth beyond your immediate situational interests, and that reality resets with every tweet or click of the remote.”\n\u003cfigure id=\"attachment_13866370\" class=\"wp-caption alignright\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/audience-of-one-book.jpg\" alt=\"The book cover of 'Audience of One: Donald Trump, Television and the Fracturing of America' by James Poniewozik shows three televisions stacked in a pyramid shape, with pictures of Donald Trump at different ages on each one.\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/audience-of-one-book.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/audience-of-one-book-160x243.jpg 160w\" sizes=\"(max-width: 329px) 100vw, 329px\">\u003cfigcaption class=\"wp-caption-text\">‘Audience of One: Donald Trump, Television and the Fracturing of America’ by James Poniewozik.\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Poniewozik is a witty, acrobatic guide through recent decades of TV, tracing the cultural forces that led to Trumpism, touching on everything from Dire Straits’ \u003cem>Money for Nothing\u003c/em> (“like a concert opening act for Trumpism”), to the glitz of the Reagan years, to Archie Bunker (“Trump’s sitcom John the Baptist”) and the rise of the TV antihero (“in literary terms a protagonist without conventional noble attributes; in layman’s terms an a–hole you find interesting.”). These antiheroes, bigots, pugilists, and narcissists lit the way, Poniewozik argues: To get to Trump, we first needed Tony Soprano, pro wrestling, reality TV, and maybe even Batman.\u003c/p>\n\u003cp>Poniewozik is especially perceptive about the incentives of cable news, and how CNN in particular built a business model on people not wanting to look away from disasters. “Trump was a plane that crashed every day, a Poop Cruise in perpetuity…He was a one-man solution to the problem of what to do when there was no breaking news.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reading Poniewozik is like watching a motorcyclist zip around traffic. (Traffic being the wider history of populism, values voters, demography, etc.). He is abundantly smart, and you get the sense that he’s just tossing out connections and theories the way you might scatter bread crumbs to pigeons. “Someone else can sort that out,” he writes of every other political and cultural consideration in Trump’s rise. [aside postid='arts_13859794']\u003c/p>\n\u003cp>But the book’s largest omission is a serious consideration of Trump’s supporters. You can easily see how Trump’s belligerent, spiteful performances would get him attention. But what happens in that small, crucial distance between attention and support?\u003c/p>\n\u003cp>Between a TV show and person (or book and person) an alchemy takes place, one that has to do with who the person is and what they care about. People have complicated inner lives, they weigh their priorities, they care about abortion or guns or immigration, and these factors affect how they understand and internalize the messages they receive. It would probably be hard to write a book that accounts for both sides of the equation, but here is where a dusting of modesty would help.\u003c/p>\n\u003cp>Poniewozik’s book does contain a quick acknowledgement that “[p]olitical coalitions are complicated things” and that people vote for lots of reasons. But when he imagines himself into the minds of Trump voters, the result feels artificial.\u003c/p>\n\u003cp>Here, for instance, he describes the religious right during the Chick-fil-A controversy: “The president of Chick-fil-A denounced gay marriage; suddenly a chicken sandwich with waffle fries became a religious-right deep-fried Eucharist.” His larger point, about “cultural choices as ideological markers” is clearly true—it’s the simplification, and contempt, that grates. [aside postid='arts_13864750']\u003c/p>\n\u003cp>Over the course of the book, describing Trump’s intended effect, Poniewozik compares Trump to the Pope, to a “voluptuary prince being carried on a palanquin,” to a “golden god,” to the “sun who gave every flower life,” and even, in an extended mapping of the Catholic liturgy onto the structure of \u003cem>The Apprentice\u003c/em>, to God himself. (Though to be fair, he also compares Trump to a pimp, a basilisk, and both Gollum and the flaming eye of Sauron.) This is all meant to be droll, but the idea of MAGA hat wearers as thralls to the golden god onscreen both underestimates and excuses them.\u003c/p>\n\u003cp>It is worth returning to the distinction Poniewozik makes between TV like \u003cem>The Apprentice\u003c/em> and TV like \u003cem>Cheers\u003c/em>: TV that treats other people as objects and obstacles, and TV that treats people as though they have interiority. This is also a distinction we can make in how we treat and think about other people, something related to what the philosopher Martin Buber calls the \u003cem>I-you\u003c/em> interaction, in contrast to the \u003cem>I-it\u003c/em> interaction.\u003c/p>\n\u003cp>To be clear, \u003cem>Audience of One\u003c/em> is both brilliant and daring, particularly when it comes to Trump’s image making. It is a tactile pleasure to read. Poniewozik’s sentences zip! His jokes land! His interpretations shimmy!\u003c/p>\n\u003cp>But I couldn’t get past that gap, the one between image and audience, the place where the thinking, digesting, and responding happens. In Poniewozik’s reading, Trump’s supporters must be stupid, dazzled creatures, absorbing the darkest messages of television and regurgitating them uncritically on the ballot. But people are not mere receptacles of culture. And treating Trump voters as \u003cem>you\u003c/em>s rather than \u003cem>it\u003c/em>—in other words, as though they have interiority, beliefs, and the ability to weigh options—does not exonerate them. If anything, it acknowledges that they are fully responsible for the choice they made.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"http://npr.org\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dwight Eisenhower “became president by winning the war in the European theater,” writes James Poniewozik in his new book \u003cem>Audience of One: Donald Trump, Television, and the Fracturing of America\u003c/em>. “Donald Trump became president by winning the 9 p.m. time slot on NBC.”\u003c/p>\n\u003cp>But Trump isn’t just \u003cem>on\u003c/em> TV, according to Poniewozik. He \u003cem>is \u003c/em>TV. Over the course of his life, Trump “achieved symbiosis with the medium,” he argues. “Its impulses were his impulses; its appetites were his appetites; its mentality was his mentality.”\u003c/p>\n\u003cp>Poniewozik does not, of course, mean all TV. Trump is not \u003cem>Gilmore Girls\u003c/em>. Trump is not the \u003cem>Great British Bake Off\u003c/em> or \u003cem>Friday Night Lights\u003c/em> or \u003cem>Frasier\u003c/em> or \u003cem>Glee\u003c/em>, or any kind of TV show grounded in a presumption of empathy for other people. Poniewozik makes the convincing case that the more Darwinian genres of TV—reality, sports, cable news—have legible, internally coherent moral teachings and ideologies, and that these both shaped Trump and helped create the cultural conditions for his rise. Those messages include:\u003c/p>\n\u003cblockquote class=\"edTag\">\n\u003cdiv>\n“That life is a constant, zero-sum competition, and if you are not beating someone then someone is beating you. (The lesson of sports and game shows.) That the best response to any controversy or crisis is to heighten the conflict. (The lesson of TV news.) That people perform best when set to fight against one another for survival. (The lesson of \u003cem>The Apprentice\u003c/em>.) That there is no history or objective truth beyond your immediate situational interests, and that reality resets with every tweet or click of the remote.”\n\u003cfigure id=\"attachment_13866370\" class=\"wp-caption alignright\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/audience-of-one-book.jpg\" alt=\"The book cover of 'Audience of One: Donald Trump, Television and the Fracturing of America' by James Poniewozik shows three televisions stacked in a pyramid shape, with pictures of Donald Trump at different ages on each one.\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/audience-of-one-book.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/audience-of-one-book-160x243.jpg 160w\" sizes=\"(max-width: 329px) 100vw, 329px\">\u003cfigcaption class=\"wp-caption-text\">‘Audience of One: Donald Trump, Television and the Fracturing of America’ by James Poniewozik.\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Poniewozik is a witty, acrobatic guide through recent decades of TV, tracing the cultural forces that led to Trumpism, touching on everything from Dire Straits’ \u003cem>Money for Nothing\u003c/em> (“like a concert opening act for Trumpism”), to the glitz of the Reagan years, to Archie Bunker (“Trump’s sitcom John the Baptist”) and the rise of the TV antihero (“in literary terms a protagonist without conventional noble attributes; in layman’s terms an a–hole you find interesting.”). These antiheroes, bigots, pugilists, and narcissists lit the way, Poniewozik argues: To get to Trump, we first needed Tony Soprano, pro wrestling, reality TV, and maybe even Batman.\u003c/p>\n\u003cp>Poniewozik is especially perceptive about the incentives of cable news, and how CNN in particular built a business model on people not wanting to look away from disasters. “Trump was a plane that crashed every day, a Poop Cruise in perpetuity…He was a one-man solution to the problem of what to do when there was no breaking news.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reading Poniewozik is like watching a motorcyclist zip around traffic. (Traffic being the wider history of populism, values voters, demography, etc.). He is abundantly smart, and you get the sense that he’s just tossing out connections and theories the way you might scatter bread crumbs to pigeons. “Someone else can sort that out,” he writes of every other political and cultural consideration in Trump’s rise. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the book’s largest omission is a serious consideration of Trump’s supporters. You can easily see how Trump’s belligerent, spiteful performances would get him attention. But what happens in that small, crucial distance between attention and support?\u003c/p>\n\u003cp>Between a TV show and person (or book and person) an alchemy takes place, one that has to do with who the person is and what they care about. People have complicated inner lives, they weigh their priorities, they care about abortion or guns or immigration, and these factors affect how they understand and internalize the messages they receive. It would probably be hard to write a book that accounts for both sides of the equation, but here is where a dusting of modesty would help.\u003c/p>\n\u003cp>Poniewozik’s book does contain a quick acknowledgement that “[p]olitical coalitions are complicated things” and that people vote for lots of reasons. But when he imagines himself into the minds of Trump voters, the result feels artificial.\u003c/p>\n\u003cp>Here, for instance, he describes the religious right during the Chick-fil-A controversy: “The president of Chick-fil-A denounced gay marriage; suddenly a chicken sandwich with waffle fries became a religious-right deep-fried Eucharist.” His larger point, about “cultural choices as ideological markers” is clearly true—it’s the simplification, and contempt, that grates. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of the book, describing Trump’s intended effect, Poniewozik compares Trump to the Pope, to a “voluptuary prince being carried on a palanquin,” to a “golden god,” to the “sun who gave every flower life,” and even, in an extended mapping of the Catholic liturgy onto the structure of \u003cem>The Apprentice\u003c/em>, to God himself. (Though to be fair, he also compares Trump to a pimp, a basilisk, and both Gollum and the flaming eye of Sauron.) This is all meant to be droll, but the idea of MAGA hat wearers as thralls to the golden god onscreen both underestimates and excuses them.\u003c/p>\n\u003cp>It is worth returning to the distinction Poniewozik makes between TV like \u003cem>The Apprentice\u003c/em> and TV like \u003cem>Cheers\u003c/em>: TV that treats other people as objects and obstacles, and TV that treats people as though they have interiority. This is also a distinction we can make in how we treat and think about other people, something related to what the philosopher Martin Buber calls the \u003cem>I-you\u003c/em> interaction, in contrast to the \u003cem>I-it\u003c/em> interaction.\u003c/p>\n\u003cp>To be clear, \u003cem>Audience of One\u003c/em> is both brilliant and daring, particularly when it comes to Trump’s image making. It is a tactile pleasure to read. Poniewozik’s sentences zip! His jokes land! His interpretations shimmy!\u003c/p>\n\u003cp>But I couldn’t get past that gap, the one between image and audience, the place where the thinking, digesting, and responding happens. In Poniewozik’s reading, Trump’s supporters must be stupid, dazzled creatures, absorbing the darkest messages of television and regurgitating them uncritically on the ballot. But people are not mere receptacles of culture. And treating Trump voters as \u003cem>you\u003c/em>s rather than \u003cem>it\u003c/em>—in other words, as though they have interiority, beliefs, and the ability to weigh options—does not exonerate them. If anything, it acknowledges that they are fully responsible for the choice they made.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why We Should All Watch 'American Factory'",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This is an excerpt of \u003c/em>Planet Money\u003cem>‘s newsletter. You can \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/money\" target=\"_blank\" rel=\"noopener\">sign up here\u003c/a>. \u003c/p>\n\u003cp>The \u003cem>Planet Money \u003c/em>movie reviews desk is normally a pretty sleepy place. There aren’t a lot of blockbusters about economics. But we sure woke up when we recently watched \u003cem>American Factory\u003c/em>, now \u003ca href=\"https://www.netflix.com/title/81090071\" target=\"_blank\" rel=\"noopener\">streaming on Netflix\u003c/a>. It’s directed by Julia Reichert and Steven Bognar. Its backers include Participant Media and the Obamas’ Higher Ground Productions, which is a partner of Netflix.\u003c/p>\n\u003cp>\u003cem>American Factory \u003c/em>doesn’t sound like a barn burner. Disney probably doesn’t have an \u003cem>Avengers: American Factory\u003c/em> in the works. And, yes, \u003cem>American Factory\u003c/em> really is a documentary about a plant in Dayton, Ohio, that makes windshields. \u003c/p>\n\u003cp>But it’s a challenging, strange, eye-opening film. Here at \u003cem>Planet Money\u003c/em>, we’ve all been watching it. As our colleague Alex Goldmark said after he finished it, “My wife and I sat there and looked at each other, and we just didn’t know how to feel.” \u003c/p>\n\u003cp>https://youtu.be/m36QeKOJ2Fc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It would be easy to know how to feel about it if it were just the thing it looks like it set out to be, the usual sympathetic story about the American blue-collar worker, with the expected problems and questions: Factories are shutting down, the unions are in retreat, the bosses stay powerful and rich. These are important stories, but they quickly fall into a kind of pattern of hard work and hopelessness. We mostly know how to feel. \u003c/p>\n\u003cp>It looks like it’s going to be the same at the glass plant in Dayton. But then a Chinese company, Fuyao Glass America, shows up to reopen it. Chinese companies buy American companies all the time. At this point, that shouldn’t be that interesting, either. \u003c/p>\n\u003cp>But Fuyao let the filmmakers film everything. \u003c/p>\n\u003cp>And so \u003cem>American Factory\u003c/em> is only nominally a film about America. The part that is astonishing about \u003cem>American Factory\u003c/em> is seeing everything about the United States through the eyes of Chinese factory workers and managers arriving to reopen and restaff a plant in the rust belt. \u003cem>American Factory\u003c/em> is the view we never get. Americans know how they feel about competing with China. But we don’t know how China feels about working with America. \u003c/p>\n\u003cp>Just minutes in, two workers from China, a couple, stand on a ledge overlooking Dayton. They marvel at the houses, which seem like antique wonders to them. They think it’s beautiful. And on second watching, I took a moment to look at the view, too, and, yeah, Dayton may be an opportunity zone, but it’s underrated. \u003c/p>\n\u003cp>We eavesdrop as a manager tries to explain America to a cafeteria filled with Chinese workers at long white tables, eating food out of foam boxes and wearing neon yellow vests. He wants to help them acclimate. “America is a place to let your personality run free,” he says. “As long as you’re not doing anything illegal, you’re free to follow your heart. You can even joke about the president. Nobody will do anything to you.” He also notes that Americans are “very obvious” and that “everything is practical and realistic.” \u003c/p>\n\u003cp>Any jealousy over freedom of expression quickly gives way to a general disappointment in the Americans as workers. The chairman comes to visit, and a manager explains what the Americans are like as workers. “They’re pretty slow,” he explains. “They have fat fingers. We keep training them over and over.” Americans also like to take off weekends. \u003c/p>\n\u003cp>The chairman, Cho Tak Wong, is a forbidding presence, alternating between lofty language about character and serious complaints about unions. “The motherland is like a mother,” he says in one address to the Chinese staff. “This is eternal.” Noting that they aren’t there for the money but to represent their country, he tells them: “It’s down to every one of you here.” In the next scene, he’s on a plane, trying to figure out how to deal with labor. “I can’t manage them,” he complains. “When we try to manage them, they threaten to get help from the union.” \u003c/p>\n\u003cp>There is so much more to this movie. There’s a visit to headquarters in China, which starts with the executive staff singing the company anthem—”Noble sentiments are transparent / For the sake of transparency”—and it gets more unfamiliar from there. The directors take their loving time with process, too. This is a movie for activists but also for people who think it’s interesting to see how glass goes from hot sand to polished windows, and it spends a few moments on the challenges and pleasures of forklift driving. It’s not exactly an uplifting film, but it’s one of the most interesting ones to come along in a while. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This is an excerpt of \u003c/em>Planet Money\u003cem>‘s newsletter. You can \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/money\" target=\"_blank\" rel=\"noopener\">sign up here\u003c/a>. \u003c/p>\n\u003cp>The \u003cem>Planet Money \u003c/em>movie reviews desk is normally a pretty sleepy place. There aren’t a lot of blockbusters about economics. But we sure woke up when we recently watched \u003cem>American Factory\u003c/em>, now \u003ca href=\"https://www.netflix.com/title/81090071\" target=\"_blank\" rel=\"noopener\">streaming on Netflix\u003c/a>. It’s directed by Julia Reichert and Steven Bognar. Its backers include Participant Media and the Obamas’ Higher Ground Productions, which is a partner of Netflix.\u003c/p>\n\u003cp>\u003cem>American Factory \u003c/em>doesn’t sound like a barn burner. Disney probably doesn’t have an \u003cem>Avengers: American Factory\u003c/em> in the works. And, yes, \u003cem>American Factory\u003c/em> really is a documentary about a plant in Dayton, Ohio, that makes windshields. \u003c/p>\n\u003cp>But it’s a challenging, strange, eye-opening film. Here at \u003cem>Planet Money\u003c/em>, we’ve all been watching it. As our colleague Alex Goldmark said after he finished it, “My wife and I sat there and looked at each other, and we just didn’t know how to feel.” \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/m36QeKOJ2Fc'\n title='//www.youtube.com/embed/m36QeKOJ2Fc'\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>It would be easy to know how to feel about it if it were just the thing it looks like it set out to be, the usual sympathetic story about the American blue-collar worker, with the expected problems and questions: Factories are shutting down, the unions are in retreat, the bosses stay powerful and rich. These are important stories, but they quickly fall into a kind of pattern of hard work and hopelessness. We mostly know how to feel. \u003c/p>\n\u003cp>It looks like it’s going to be the same at the glass plant in Dayton. But then a Chinese company, Fuyao Glass America, shows up to reopen it. Chinese companies buy American companies all the time. At this point, that shouldn’t be that interesting, either. \u003c/p>\n\u003cp>But Fuyao let the filmmakers film everything. \u003c/p>\n\u003cp>And so \u003cem>American Factory\u003c/em> is only nominally a film about America. The part that is astonishing about \u003cem>American Factory\u003c/em> is seeing everything about the United States through the eyes of Chinese factory workers and managers arriving to reopen and restaff a plant in the rust belt. \u003cem>American Factory\u003c/em> is the view we never get. Americans know how they feel about competing with China. But we don’t know how China feels about working with America. \u003c/p>\n\u003cp>Just minutes in, two workers from China, a couple, stand on a ledge overlooking Dayton. They marvel at the houses, which seem like antique wonders to them. They think it’s beautiful. And on second watching, I took a moment to look at the view, too, and, yeah, Dayton may be an opportunity zone, but it’s underrated. \u003c/p>\n\u003cp>We eavesdrop as a manager tries to explain America to a cafeteria filled with Chinese workers at long white tables, eating food out of foam boxes and wearing neon yellow vests. He wants to help them acclimate. “America is a place to let your personality run free,” he says. “As long as you’re not doing anything illegal, you’re free to follow your heart. You can even joke about the president. Nobody will do anything to you.” He also notes that Americans are “very obvious” and that “everything is practical and realistic.” \u003c/p>\n\u003cp>Any jealousy over freedom of expression quickly gives way to a general disappointment in the Americans as workers. The chairman comes to visit, and a manager explains what the Americans are like as workers. “They’re pretty slow,” he explains. “They have fat fingers. We keep training them over and over.” Americans also like to take off weekends. \u003c/p>\n\u003cp>The chairman, Cho Tak Wong, is a forbidding presence, alternating between lofty language about character and serious complaints about unions. “The motherland is like a mother,” he says in one address to the Chinese staff. “This is eternal.” Noting that they aren’t there for the money but to represent their country, he tells them: “It’s down to every one of you here.” In the next scene, he’s on a plane, trying to figure out how to deal with labor. “I can’t manage them,” he complains. “When we try to manage them, they threaten to get help from the union.” \u003c/p>\n\u003cp>There is so much more to this movie. There’s a visit to headquarters in China, which starts with the executive staff singing the company anthem—”Noble sentiments are transparent / For the sake of transparency”—and it gets more unfamiliar from there. The directors take their loving time with process, too. This is a movie for activists but also for people who think it’s interesting to see how glass goes from hot sand to polished windows, and it spends a few moments on the challenges and pleasures of forklift driving. It’s not exactly an uplifting film, but it’s one of the most interesting ones to come along in a while. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The outsider singer, songwriter and visual artist Daniel Johnston has died. His death was confirmed to NPR by his brother, Dick Johnston, who said that Daniel had just been released on Tuesday from a hospital, where he had been treated for kidney issues. Dick Johnston said that Tuesday night, Daniel had seemed well, but he was found dead at his home in Waller, Texas, near Houston, Wednesday morning. He was 58 years old.\u003c/p>\n\u003cp>His sister, Margy Johnston, told the \u003ca href=\"https://www.austinchronicle.com/daily/music/2019-09-11/austin-singer-songwriter-daniel-johnston-dead-at-58/\">Austin Chronicle\u003c/a> in 2018 that he had been physically unwell in recent years; in a \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/daniel-johnston-final-concerts.html\">2017 profile\u003c/a>, \u003cem>The New York Times\u003c/em> reported that he had struggled with diabetes, a kidney infection and hydrocephalus, in addition to the manic depression and schizophrenia that he bore for most of his adult life.\u003c/p>\n\u003cp>Born Jan. 22, 1961, in Sacramento, Calif., Johnston was a musician’s musician, whose guileless lyrics about love and isolation found significant fans who brought his singular songs to a wider audience. Tom Waits, Yo La Tengo, Bright Eyes and many other bands covered Johnston’s achingly sincere songs of alienation. Wayne Coyne of the Flaming Lips\u003ca href=\"https://www.austinchronicle.com/daily/music/2019-01-21/hi-how-are-you-day-wayne-coyne/\"> said\u003c/a>, of his music, “There’s definitely some absolutely pure, emotional thing that happens in his songs.” Kurt Cobain wore a T-shirt featuring the art from Johnston’s 1983 cassette \u003cem>Hi, How Are You. \u003c/em>\u003c/p>\n\u003cp>https://youtu.be/3OvWFurOBk8\u003c/p>\n\u003cp>He was beloved as a visual artist and cartoonist too: In 2006, the Whitney Museum of American Art chose him for its famed \u003ca href=\"https://whitney.org/exhibitions/2006-biennial\">Biennial\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2005, he was the subject of a documentary, the Jeff Feuerzeig-directed\u003ca href=\"https://www.imdb.com/title/tt0436231/\"> The Devil and Daniel Johnston\u003c/a>, that traced his art-making and his significant struggles; the film won the documentary directing award at the Sundance Film Festival that year.\u003c/p>\n\u003cp>https://youtu.be/wJZOe65eA4Y\u003c/p>\n\u003cp>Dick Johnston also told NPR on Wednesday that the family has been working with director \u003ca href=\"https://catastrophictheatre.com/production/speeding-motorcycle/\">Jason Nodler\u003c/a> to create a biographical film of Daniel Johnston’s life, based on the stage work \u003cem>Speeding Motorcycle, \u003c/em>which Nodler directed and which is based on Johnston’s songs. “It’s so sad that he won’t get to see it,” Dick Johnston said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As news of his death spread, many musicians and artists have taken to social media to pay tribute to Johnston. “There are not enough words I can say about the … vitality of Daniel Johnston’s musical spirit,” Zola Jesus wrote on \u003ca href=\"https://twitter.com/ZOLAJESUS/status/1171883463584178176?s=20\">Twitter\u003c/a>. “He was a huge inspiration to me, to follow my creative impulses no matter how messy or simple.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The outsider singer, songwriter and visual artist Daniel Johnston has died. His death was confirmed to NPR by his brother, Dick Johnston, who said that Daniel had just been released on Tuesday from a hospital, where he had been treated for kidney issues. Dick Johnston said that Tuesday night, Daniel had seemed well, but he was found dead at his home in Waller, Texas, near Houston, Wednesday morning. He was 58 years old.\u003c/p>\n\u003cp>His sister, Margy Johnston, told the \u003ca href=\"https://www.austinchronicle.com/daily/music/2019-09-11/austin-singer-songwriter-daniel-johnston-dead-at-58/\">Austin Chronicle\u003c/a> in 2018 that he had been physically unwell in recent years; in a \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/daniel-johnston-final-concerts.html\">2017 profile\u003c/a>, \u003cem>The New York Times\u003c/em> reported that he had struggled with diabetes, a kidney infection and hydrocephalus, in addition to the manic depression and schizophrenia that he bore for most of his adult life.\u003c/p>\n\u003cp>Born Jan. 22, 1961, in Sacramento, Calif., Johnston was a musician’s musician, whose guileless lyrics about love and isolation found significant fans who brought his singular songs to a wider audience. Tom Waits, Yo La Tengo, Bright Eyes and many other bands covered Johnston’s achingly sincere songs of alienation. Wayne Coyne of the Flaming Lips\u003ca href=\"https://www.austinchronicle.com/daily/music/2019-01-21/hi-how-are-you-day-wayne-coyne/\"> said\u003c/a>, of his music, “There’s definitely some absolutely pure, emotional thing that happens in his songs.” Kurt Cobain wore a T-shirt featuring the art from Johnston’s 1983 cassette \u003cem>Hi, How Are You. \u003c/em>\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/3OvWFurOBk8'\n title='//www.youtube.com/embed/3OvWFurOBk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He was beloved as a visual artist and cartoonist too: In 2006, the Whitney Museum of American Art chose him for its famed \u003ca href=\"https://whitney.org/exhibitions/2006-biennial\">Biennial\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2005, he was the subject of a documentary, the Jeff Feuerzeig-directed\u003ca href=\"https://www.imdb.com/title/tt0436231/\"> The Devil and Daniel Johnston\u003c/a>, that traced his art-making and his significant struggles; the film won the documentary directing award at the Sundance Film Festival that year.\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/wJZOe65eA4Y'\n title='//www.youtube.com/embed/wJZOe65eA4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dick Johnston also told NPR on Wednesday that the family has been working with director \u003ca href=\"https://catastrophictheatre.com/production/speeding-motorcycle/\">Jason Nodler\u003c/a> to create a biographical film of Daniel Johnston’s life, based on the stage work \u003cem>Speeding Motorcycle, \u003c/em>which Nodler directed and which is based on Johnston’s songs. “It’s so sad that he won’t get to see it,” Dick Johnston said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As news of his death spread, many musicians and artists have taken to social media to pay tribute to Johnston. “There are not enough words I can say about the … vitality of Daniel Johnston’s musical spirit,” Zola Jesus wrote on \u003ca href=\"https://twitter.com/ZOLAJESUS/status/1171883463584178176?s=20\">Twitter\u003c/a>. “He was a huge inspiration to me, to follow my creative impulses no matter how messy or simple.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sure, it’s unlikely that the Japanese macaque you see above actually threw up a \u003ca href=\"https://twitter.com/pigsandplans/status/878030806349889537\">Wu-Tang sign\u003c/a>. Probably by some providential mix of the photographer’s skill, patience and plain old dumb luck, this deadpan monkey stumbled into a funny looking moment—not a lifelong appreciation for \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">RZA & Co.\u003c/a>\u003c/p>\n\u003cp>Still, though: Isn’t it pretty funny to think so?\u003c/p>\n\u003cp>The finalists for the \u003ca href=\"https://www.comedywildlifephoto.com/\">2019 Comedy Wildlife Photography Awards\u003c/a>, unveiled Wednesday, teem with happy accidents such as this. The 40 photographs that got the nod feature a variety of animals caught in the act—though of just what, exactly, is not always clear.\u003c/p>\n\u003cfigure id=\"attachment_13866297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg\" alt=\"This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that. \u003ccite>(Geert Weggen/Comedy Wildlife Photo Awards 2019)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a squirrel burying its nose in a dandelion apparently to wish on its seeds. A couple of chill otters waving. An embarrassed bear, a pompous chimp, a flatulent penguin—and one suggestive scene that might not be quite right for a family news outlet.\u003c/p>\n\u003cp>You can check them all out for yourself \u003ca href=\"https://www.comedywildlifephoto.com/gallery/2019_finalists.php\">right here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A panel of judges will decide the winner on Nov. 13. Whoever takes home the prize will get a trophy and a chance to join a weeklong safari in Kenya. But folks at home can pick their favorite as well by voting for the people’s choice award.\u003c/p>\n\u003cp>“Every year we do this competition, it gets more and more exciting seeing how people visualize the funny sides of wildlife in the wild,” said Paul Joynson-Hicks, who founded the competition about four years ago and manages it with Tom Sullam.\u003c/p>\n\u003cp>They say the contest is a lighthearted way of raising awareness about the environment. The contest has partnered with \u003ca href=\"https://www.bornfree.org.uk/\">Born Free\u003c/a>, a wildlife activism group, and on the prize’s website is a\u003ca href=\"https://www.comedywildlifephoto.com/conservation.php\"> list of suggestions\u003c/a> on “how to be a conservationist.”\u003c/p>\n\u003cp>“Our planet is in distress, we all know that, now we just need to know what to do,” Joynson-Hicks added in his statement released Wednesday. “Hopefully, we can provide a few small tips to get people started.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, here are a few more glimpses of the tiny wonders of serendipity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PHOTOS%3A+Comedy+Wildlife+Finalists+Offer+Ode+To+Silly+Serendipity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 2019 finalists for the Comedy Wildlife Photography Awards demonstrate the joys of the happy accident—from a deadpan Japanese macaque to a squirrel wishing on a dandelion.",
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"title": "PHOTOS: Comedy Wildlife Finalists Offer Ode to Silly Serendipity | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, it’s unlikely that the Japanese macaque you see above actually threw up a \u003ca href=\"https://twitter.com/pigsandplans/status/878030806349889537\">Wu-Tang sign\u003c/a>. Probably by some providential mix of the photographer’s skill, patience and plain old dumb luck, this deadpan monkey stumbled into a funny looking moment—not a lifelong appreciation for \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">RZA & Co.\u003c/a>\u003c/p>\n\u003cp>Still, though: Isn’t it pretty funny to think so?\u003c/p>\n\u003cp>The finalists for the \u003ca href=\"https://www.comedywildlifephoto.com/\">2019 Comedy Wildlife Photography Awards\u003c/a>, unveiled Wednesday, teem with happy accidents such as this. The 40 photographs that got the nod feature a variety of animals caught in the act—though of just what, exactly, is not always clear.\u003c/p>\n\u003cfigure id=\"attachment_13866297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg\" alt=\"This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/geert-weggen_squirrel-wishes_00003677_custom-acef9f25dc6443a895e0f2f9c983bbee243e2747.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This squirrel in Sweden better have some wishes in mind—and fast—with the wind blowing those dandelion seeds like that. \u003ccite>(Geert Weggen/Comedy Wildlife Photo Awards 2019)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a squirrel burying its nose in a dandelion apparently to wish on its seeds. A couple of chill otters waving. An embarrassed bear, a pompous chimp, a flatulent penguin—and one suggestive scene that might not be quite right for a family news outlet.\u003c/p>\n\u003cp>You can check them all out for yourself \u003ca href=\"https://www.comedywildlifephoto.com/gallery/2019_finalists.php\">right here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A panel of judges will decide the winner on Nov. 13. Whoever takes home the prize will get a trophy and a chance to join a weeklong safari in Kenya. But folks at home can pick their favorite as well by voting for the people’s choice award.\u003c/p>\n\u003cp>“Every year we do this competition, it gets more and more exciting seeing how people visualize the funny sides of wildlife in the wild,” said Paul Joynson-Hicks, who founded the competition about four years ago and manages it with Tom Sullam.\u003c/p>\n\u003cp>They say the contest is a lighthearted way of raising awareness about the environment. The contest has partnered with \u003ca href=\"https://www.bornfree.org.uk/\">Born Free\u003c/a>, a wildlife activism group, and on the prize’s website is a\u003ca href=\"https://www.comedywildlifephoto.com/conservation.php\"> list of suggestions\u003c/a> on “how to be a conservationist.”\u003c/p>\n\u003cp>“Our planet is in distress, we all know that, now we just need to know what to do,” Joynson-Hicks added in his statement released Wednesday. “Hopefully, we can provide a few small tips to get people started.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, here are a few more glimpses of the tiny wonders of serendipity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PHOTOS%3A+Comedy+Wildlife+Finalists+Offer+Ode+To+Silly+Serendipity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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. ",
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"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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"marketplace": {
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"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",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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