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"content": "\u003cp>In a year of big headlines, \u003cem>Fresh Air\u003c/em> continued to dive deep, broadcasting in-depth interviews on topics that ranged from the \u003ca href=\"https://www.npr.org/2018/08/01/634456181/scientists-are-spying-on-whales-to-learn-how-they-eat-talk-and-walked\">magnificent\u003c/a> to the \u003ca href=\"https://www.npr.org/sections/health-shots/2018/11/12/666933600/counting-the-bugs-and-bacteria-youre-never-home-alone-and-thats-ok\">microscopic\u003c/a>. We spoke with \u003ca href=\"https://www.npr.org/sections/health-shots/2018/01/02/575055148/neuroscientist-predicts-much-better-treatment-for-alzheimers-is-10-years-away\">scientists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/06/591130207/journalist-charts-the-bizarre-twists-and-turns-of-the-trump-russia-dossier\">journalists\u003c/a>, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/09/04/644498267/after-her-cousins-honor-killing-khalida-brohi-became-a-womens-rights-activist\">activists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/10/656118568/first-man-director-armstrongs-moon-walk-is-a-story-of-coping-and-grief\">filmmakers\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/20/669573056/dawn-wall-climbers-gripped-razor-thin-edges-up-el-capitans-impossible-face\">two free climbers\u003c/a> who conquered a surface on Yosemite’s El Capitan that was once thought impenetrable. Our conversations with \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\">James Comey\u003c/a> and \u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">Bob Woodward\u003c/a> gave us a deeper understanding of the Trump presidency.\u003c/p>\n\u003cp>When we looked at the numbers, we found the most clicked-upon interview of the year was with former Secretary of State Madeleine Albright, who warned of a rise of authoritarianism worldwide.\u003c/p>\n\u003cp>You’ll find that conversation, and many more, in this list of the 10 most popular \u003cem>Fresh Air \u003c/em>interviews of 2018:\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/03/599120190/madeleine-albright-warns-dont-let-fascism-go-unnoticed-until-its-too-late\">\u003cstrong>Madeleine Albright Warns: Don’t Let Fascism Go ‘Unnoticed Until It’s Too Late’\u003c/strong>\u003c/a> The former secretary of state describes President Trump as “the most anti-democratic leader that I have studied in American history.” Albright’s new book is \u003cem>Fascism: A Warning.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>2. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/05/01/607262463/comic-michelle-wolf-responds-to-backlash-im-glad-i-stuck-to-my-guns\">\u003cstrong>Comic Michelle Wolf Responds To Backlash: ‘I’m Glad I Stuck To My Guns’\u003c/strong>\u003c/a> Though critics argued that the comedian’s barbed monologue at this year’s White House Correspondents’ Dinner was too pointed, in this exclusive interview, Wolf stood by her set: “I wouldn’t change a single word.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/07/11/628000131/once-militantly-anti-abortion-evangelical-minister-now-lives-with-regret\">\u003cstrong>Once Militantly Anti-Abortion, Evangelical Minister Now Lives ‘With Regret’\u003c/strong>\u003c/a> After decades working to block access to clinics, the Rev. Rob Schenck says he had a change of heart and sees abortion as an issue that should be resolved by “an individual and his or her conscience.”\u003c/p>\n\u003cp>\u003cstrong>4. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/12/601783346/first-ever-evictions-database-shows-were-in-the-middle-of-a-housing-crisis\">\u003cstrong>First-Ever Evictions Database Shows: ‘We’re In the Middle Of A Housing Crisis’\u003c/strong>\u003c/a> Matthew Desmond estimates that 2.3 million evictions were filed in the U.S. in 2016 — a rate of four every minute. “Eviction isn’t just a condition of poverty; it’s a cause of poverty,” he says.\u003c/p>\n\u003cp>\u003cstrong>5. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/05/15/611225541/reluctant-psychonaut-michael-pollan-embraces-the-new-science-of-psychedelics\">\u003cstrong>Reluctant Psychonaut’ Michael Pollan Embraces The ‘New Science’ Of Psychedelics\u003c/strong>\u003c/a> Author Michael Pollan, who experimented with mushrooms, LSD and other psychedelics while researching his latest book, says: “I had an experience that was by turns frightening and ecstatic and weird.”\u003c/p>\n\u003cp>\u003cstrong>6. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">\u003cstrong>John Oliver Finds Humor In The News No One Wants To Hear About\u003c/strong>\u003c/a> On \u003cem>Last Week Tonight, \u003c/em>Oliver dives into often obscure stories, like NRATV and the laws that govern televangelism. He describes the show’s style as “the slowest improv you’ve ever seen.”\u003c/p>\n\u003cp>\u003cstrong>7. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/18/648737143/memoirist-evangelical-purity-movement-sees-womens-bodies-as-a-threat\">\u003cstrong>Memoirist: Evangelical Purity Movement Sees Women’s Bodies As A ‘Threat’\u003c/strong>\u003c/a> In \u003cem>Pure\u003c/em>, Linda Kay Klein reflects on the “deep, long-lasting shame” caused by churches that claim women and girls are responsible for the sexual desires of men.\u003c/p>\n\u003cp>\u003cstrong>8. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">\u003cstrong>Bob Woodward: ‘People Need To Wake Up’ To What’s Happening Under Trump\u003c/strong>\u003c/a> The veteran journalist was shocked by the tactics White House staff use to circumvent Trump: “I’ve never heard in any way of staff going around a president this way.” Woodward’s latest book is \u003cem>Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>9. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/02/20/587244230/memoirist-retraces-her-journey-from-survivalist-childhood-to-cambridge-ph-d\">\u003cstrong>Memoirist Retraces Her Journey From Survivalist Childhood To Cambridge Ph.D.\u003c/strong>\u003c/a> Growing up, Tara Westover had no birth certificate, never saw a doctor and didn’t go to school. She writes about her awkward transition into the mainstream in \u003cem>Educated: A Memoir\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>10. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/03/27/597159133/how-bad-medicine-dismisses-and-misdiagnoses-womens-symptoms\">\u003cstrong>How ‘Bad Medicine’ Dismisses And Misdiagnoses Women’s Symptoms\u003c/strong>\u003c/a> Journalist Maya Dusenbery argues that medicine has a “systemic and unconscious bias” against women that is rooted in “what doctors, regardless of their own gender, are learning in medical schools.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Case+You+Missed+%27Em%3A+The+10+Most+Popular+%27Fresh+Air%27+Interviews+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year of big headlines, \u003cem>Fresh Air\u003c/em> continued to dive deep, broadcasting in-depth interviews on topics that ranged from the \u003ca href=\"https://www.npr.org/2018/08/01/634456181/scientists-are-spying-on-whales-to-learn-how-they-eat-talk-and-walked\">magnificent\u003c/a> to the \u003ca href=\"https://www.npr.org/sections/health-shots/2018/11/12/666933600/counting-the-bugs-and-bacteria-youre-never-home-alone-and-thats-ok\">microscopic\u003c/a>. We spoke with \u003ca href=\"https://www.npr.org/sections/health-shots/2018/01/02/575055148/neuroscientist-predicts-much-better-treatment-for-alzheimers-is-10-years-away\">scientists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/06/591130207/journalist-charts-the-bizarre-twists-and-turns-of-the-trump-russia-dossier\">journalists\u003c/a>, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/09/04/644498267/after-her-cousins-honor-killing-khalida-brohi-became-a-womens-rights-activist\">activists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/10/656118568/first-man-director-armstrongs-moon-walk-is-a-story-of-coping-and-grief\">filmmakers\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/20/669573056/dawn-wall-climbers-gripped-razor-thin-edges-up-el-capitans-impossible-face\">two free climbers\u003c/a> who conquered a surface on Yosemite’s El Capitan that was once thought impenetrable. Our conversations with \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\">James Comey\u003c/a> and \u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">Bob Woodward\u003c/a> gave us a deeper understanding of the Trump presidency.\u003c/p>\n\u003cp>When we looked at the numbers, we found the most clicked-upon interview of the year was with former Secretary of State Madeleine Albright, who warned of a rise of authoritarianism worldwide.\u003c/p>\n\u003cp>You’ll find that conversation, and many more, in this list of the 10 most popular \u003cem>Fresh Air \u003c/em>interviews of 2018:\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/03/599120190/madeleine-albright-warns-dont-let-fascism-go-unnoticed-until-its-too-late\">\u003cstrong>Madeleine Albright Warns: Don’t Let Fascism Go ‘Unnoticed Until It’s Too Late’\u003c/strong>\u003c/a> The former secretary of state describes President Trump as “the most anti-democratic leader that I have studied in American history.” Albright’s new book is \u003cem>Fascism: A Warning.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>2. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/05/01/607262463/comic-michelle-wolf-responds-to-backlash-im-glad-i-stuck-to-my-guns\">\u003cstrong>Comic Michelle Wolf Responds To Backlash: ‘I’m Glad I Stuck To My Guns’\u003c/strong>\u003c/a> Though critics argued that the comedian’s barbed monologue at this year’s White House Correspondents’ Dinner was too pointed, in this exclusive interview, Wolf stood by her set: “I wouldn’t change a single word.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>3. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/07/11/628000131/once-militantly-anti-abortion-evangelical-minister-now-lives-with-regret\">\u003cstrong>Once Militantly Anti-Abortion, Evangelical Minister Now Lives ‘With Regret’\u003c/strong>\u003c/a> After decades working to block access to clinics, the Rev. Rob Schenck says he had a change of heart and sees abortion as an issue that should be resolved by “an individual and his or her conscience.”\u003c/p>\n\u003cp>\u003cstrong>4. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/12/601783346/first-ever-evictions-database-shows-were-in-the-middle-of-a-housing-crisis\">\u003cstrong>First-Ever Evictions Database Shows: ‘We’re In the Middle Of A Housing Crisis’\u003c/strong>\u003c/a> Matthew Desmond estimates that 2.3 million evictions were filed in the U.S. in 2016 — a rate of four every minute. “Eviction isn’t just a condition of poverty; it’s a cause of poverty,” he says.\u003c/p>\n\u003cp>\u003cstrong>5. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/05/15/611225541/reluctant-psychonaut-michael-pollan-embraces-the-new-science-of-psychedelics\">\u003cstrong>Reluctant Psychonaut’ Michael Pollan Embraces The ‘New Science’ Of Psychedelics\u003c/strong>\u003c/a> Author Michael Pollan, who experimented with mushrooms, LSD and other psychedelics while researching his latest book, says: “I had an experience that was by turns frightening and ecstatic and weird.”\u003c/p>\n\u003cp>\u003cstrong>6. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">\u003cstrong>John Oliver Finds Humor In The News No One Wants To Hear About\u003c/strong>\u003c/a> On \u003cem>Last Week Tonight, \u003c/em>Oliver dives into often obscure stories, like NRATV and the laws that govern televangelism. He describes the show’s style as “the slowest improv you’ve ever seen.”\u003c/p>\n\u003cp>\u003cstrong>7. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/18/648737143/memoirist-evangelical-purity-movement-sees-womens-bodies-as-a-threat\">\u003cstrong>Memoirist: Evangelical Purity Movement Sees Women’s Bodies As A ‘Threat’\u003c/strong>\u003c/a> In \u003cem>Pure\u003c/em>, Linda Kay Klein reflects on the “deep, long-lasting shame” caused by churches that claim women and girls are responsible for the sexual desires of men.\u003c/p>\n\u003cp>\u003cstrong>8. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">\u003cstrong>Bob Woodward: ‘People Need To Wake Up’ To What’s Happening Under Trump\u003c/strong>\u003c/a> The veteran journalist was shocked by the tactics White House staff use to circumvent Trump: “I’ve never heard in any way of staff going around a president this way.” Woodward’s latest book is \u003cem>Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>9. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/02/20/587244230/memoirist-retraces-her-journey-from-survivalist-childhood-to-cambridge-ph-d\">\u003cstrong>Memoirist Retraces Her Journey From Survivalist Childhood To Cambridge Ph.D.\u003c/strong>\u003c/a> Growing up, Tara Westover had no birth certificate, never saw a doctor and didn’t go to school. She writes about her awkward transition into the mainstream in \u003cem>Educated: A Memoir\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>10. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/03/27/597159133/how-bad-medicine-dismisses-and-misdiagnoses-womens-symptoms\">\u003cstrong>How ‘Bad Medicine’ Dismisses And Misdiagnoses Women’s Symptoms\u003c/strong>\u003c/a> Journalist Maya Dusenbery argues that medicine has a “systemic and unconscious bias” against women that is rooted in “what doctors, regardless of their own gender, are learning in medical schools.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Case+You+Missed+%27Em%3A+The+10+Most+Popular+%27Fresh+Air%27+Interviews+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the Lebanese movie \u003cem>Capernaum\u003c/em> (the title translates to “chaos,” an apt description of the world of the film), skinny, sad-eyed Zain (Zain Al Rafeea) is 12 years old, though he’s so tiny he could pass for eight. \u003c/p>\n\u003cp>He’s running and playing with other kids in the streets of Beirut under the opening credits. Once those credits are done, we watch as he’s led past TV reporters into a courtroom, where he barely comes up to the waist of the soldier who’s brought him. He looks firmly at the judge who asks him why he’s there.\u003c/p>\n\u003cp>“I want to sue my parents,” he says. \u003c/p>\n\u003cp>The judge asks him why.\u003c/p>\n\u003cp>“Because I was born,” he says, his voice breaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a searing indictment—one that we watch his mother and father silently absorb from their seats across the courtroom. \u003c/p>\n\u003cp>https://youtu.be/ULUo0048xZE\u003c/p>\n\u003cp>We then flash back to their home life, if you can call it that—crammed into a crumbling slum apartment where opiates are dissolved just inches from the mattress on which half a dozen kids lie sleeping. \u003c/p>\n\u003cp>Zain does what he can to protect his siblings—he’s tough and streetwise despite his size—but when he can’t keep his folks from sending off his eleven-year-old sister to be married to the landlord, he leaves. \u003c/p>\n\u003cp>He lives on the street, and looks for work in a garish, seaside amusement park, where he meets a pink-and-blue-costumed Cockroach-Man who claims to be Spider-Man’s cousin, and an Ethiopian cleaning lady (Yordanos Shiferaw) with a baby (Boluwatife Treasure Bankole), but no immigration papers. If he’ll keep the baby safe, she decides, she’ll give Zain shelter, a home away from home. \u003c/p>\n\u003cp>Had Charles Dickens lived in modern-day Beirut, he might have penned a story like \u003cem>Capernaum\u003c/em>—feisty, resourceful kid stealing food for his adopted family, caring for an infant as life takes cataclysmic turns involving human traffickers, scam artists, cops. \u003c/p>\n\u003cp>Nadine Labaki has written and directed a couple of lovely small films, but nothing suggesting she could make an epic like this. Or shepherd a first-timer like her young star to such an accomplished performance. \u003c/p>\n\u003cp>That he shares his name, Zain, with the character he portrays is very much the point. All of her actors are non-professionals, cast because their lives resemble those of the folks in the story she’s crafted. They don’t just play these parts, they’ve lived them. \u003c/p>\n\u003cp>On screen, they’re surrounded by images both tender and wrenching: a mother in jail squeezing her breast-milk onto the floor, sobbing to her absent infant that she’s sorry; a bedtime that’s a tangle of children’s arms and legs; bird’s-eye shots of a shantytown stretching for miles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capernaum\u003c/em>—chaos—and at its center, this astonishing child, who is profane, protective, profoundly compelling—a Dickensian hero in a saga that defies all odds, and finds hope in kids doing what they can … in a hell made by adults. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Boy+Grows+Up+Fast+On+The+Streets+Of+Beirut+In+The+Dickensian+%27Capernaum%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a searing indictment—one that we watch his mother and father silently absorb from their seats across the courtroom. \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/ULUo0048xZE'\n title='//www.youtube.com/embed/ULUo0048xZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We then flash back to their home life, if you can call it that—crammed into a crumbling slum apartment where opiates are dissolved just inches from the mattress on which half a dozen kids lie sleeping. \u003c/p>\n\u003cp>Zain does what he can to protect his siblings—he’s tough and streetwise despite his size—but when he can’t keep his folks from sending off his eleven-year-old sister to be married to the landlord, he leaves. \u003c/p>\n\u003cp>He lives on the street, and looks for work in a garish, seaside amusement park, where he meets a pink-and-blue-costumed Cockroach-Man who claims to be Spider-Man’s cousin, and an Ethiopian cleaning lady (Yordanos Shiferaw) with a baby (Boluwatife Treasure Bankole), but no immigration papers. If he’ll keep the baby safe, she decides, she’ll give Zain shelter, a home away from home. \u003c/p>\n\u003cp>Had Charles Dickens lived in modern-day Beirut, he might have penned a story like \u003cem>Capernaum\u003c/em>—feisty, resourceful kid stealing food for his adopted family, caring for an infant as life takes cataclysmic turns involving human traffickers, scam artists, cops. \u003c/p>\n\u003cp>Nadine Labaki has written and directed a couple of lovely small films, but nothing suggesting she could make an epic like this. Or shepherd a first-timer like her young star to such an accomplished performance. \u003c/p>\n\u003cp>That he shares his name, Zain, with the character he portrays is very much the point. All of her actors are non-professionals, cast because their lives resemble those of the folks in the story she’s crafted. They don’t just play these parts, they’ve lived them. \u003c/p>\n\u003cp>On screen, they’re surrounded by images both tender and wrenching: a mother in jail squeezing her breast-milk onto the floor, sobbing to her absent infant that she’s sorry; a bedtime that’s a tangle of children’s arms and legs; bird’s-eye shots of a shantytown stretching for miles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capernaum\u003c/em>—chaos—and at its center, this astonishing child, who is profane, protective, profoundly compelling—a Dickensian hero in a saga that defies all odds, and finds hope in kids doing what they can … in a hell made by adults. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Boy+Grows+Up+Fast+On+The+Streets+Of+Beirut+In+The+Dickensian+%27Capernaum%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 2:58 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Penny Marshall, who became a household name as Laverne in the TV sitcom \u003cem>Laverne & Shirley\u003c/em> and went on to direct several popular movies, has died at the age of 75.\u003c/p>\n\u003cp>Marshall died Monday night at her Los Angeles home from complications of diabetes, family publicist Michelle Bega tells NPR.\u003c/p>\n\u003cp>In the early ’70s, Marshall got her start on shows like \u003cem>The Odd Couple\u003c/em> and \u003cem>The Bob Newhart Show\u003c/em>. She built her fame co-starring with Cindy Williams in \u003cem>Laverne & Shirley\u003c/em>, the popular sitcom created by her older brother, Garry Marshall (as was \u003cem>The Odd Couple\u003c/em>).\u003c/p>\n\u003cp>The \u003cem>Happy Days\u003c/em> spinoff series was also where she began her directing career, directing several episodes of the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the late ’80s, Marshall made the leap from small-screen actress to big-screen director.\u003c/p>\n\u003cp>She directed \u003cem>Big\u003c/em>, starring Tom Hanks as a boy in a man’s body, and \u003cem>A League of Their Own\u003c/em>, based on the true story of a professional women’s baseball league in the 1940s.\u003c/p>\n\u003cp>Then, as now, film directing was a male-dominated field. In 1992, NPR reported that women made up just 10 percent of the membership of the Directors Guild, even as successful movies like Marshall’s drew attention—\u003cem>Big\u003c/em> was the first film from a female director to top $100 million at the box office.\u003c/p>\n\u003cp>Director Ava DuVernay remembered Marshall on Twitter on Tuesday, \u003ca href=\"https://twitter.com/ava/status/1075107218758918144\" target=\"_blank\" rel=\"noopener\">thanking her\u003c/a> “for the trails you blazed. The laughs you gave. The hearts you warmed.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences, the body that awards the Oscars, also \u003ca href=\"https://twitter.com/TheAcademy/status/1075113129388822528\" target=\"_blank\" rel=\"noopener\">remembered\u003c/a> Marshall on Twitter, calling her “one of the greats.”\u003c/p>\n\u003cp>In life, Marshall was \u003ca href=\"https://filmschoolrejects.com/the-losers-penny-marshall-should-have-won-an-oscar-da16c3f2bec0/\">never nominated for an Oscar\u003c/a>—not even when her film \u003cem>Awakenings\u003c/em> was in the running for Best Picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marshall’s work on \u003cem>Laverne & Shirley\u003c/em> was also never recognized with an Emmy nomination, as The Hollywood Reporter \u003ca href=\"https://www.hollywoodreporter.com/news/penny-marshall-dead-laverne-shirley-star-75-686405\" target=\"_blank\" rel=\"noopener\">notes with astonishment.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Penny+Marshall%2C+Filmmaker+And+%27Laverne+%26+Shirley%27+Star%2C+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:58 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Penny Marshall, who became a household name as Laverne in the TV sitcom \u003cem>Laverne & Shirley\u003c/em> and went on to direct several popular movies, has died at the age of 75.\u003c/p>\n\u003cp>Marshall died Monday night at her Los Angeles home from complications of diabetes, family publicist Michelle Bega tells NPR.\u003c/p>\n\u003cp>In the early ’70s, Marshall got her start on shows like \u003cem>The Odd Couple\u003c/em> and \u003cem>The Bob Newhart Show\u003c/em>. She built her fame co-starring with Cindy Williams in \u003cem>Laverne & Shirley\u003c/em>, the popular sitcom created by her older brother, Garry Marshall (as was \u003cem>The Odd Couple\u003c/em>).\u003c/p>\n\u003cp>The \u003cem>Happy Days\u003c/em> spinoff series was also where she began her directing career, directing several episodes of the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the late ’80s, Marshall made the leap from small-screen actress to big-screen director.\u003c/p>\n\u003cp>She directed \u003cem>Big\u003c/em>, starring Tom Hanks as a boy in a man’s body, and \u003cem>A League of Their Own\u003c/em>, based on the true story of a professional women’s baseball league in the 1940s.\u003c/p>\n\u003cp>Then, as now, film directing was a male-dominated field. In 1992, NPR reported that women made up just 10 percent of the membership of the Directors Guild, even as successful movies like Marshall’s drew attention—\u003cem>Big\u003c/em> was the first film from a female director to top $100 million at the box office.\u003c/p>\n\u003cp>Director Ava DuVernay remembered Marshall on Twitter on Tuesday, \u003ca href=\"https://twitter.com/ava/status/1075107218758918144\" target=\"_blank\" rel=\"noopener\">thanking her\u003c/a> “for the trails you blazed. The laughs you gave. The hearts you warmed.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences, the body that awards the Oscars, also \u003ca href=\"https://twitter.com/TheAcademy/status/1075113129388822528\" target=\"_blank\" rel=\"noopener\">remembered\u003c/a> Marshall on Twitter, calling her “one of the greats.”\u003c/p>\n\u003cp>In life, Marshall was \u003ca href=\"https://filmschoolrejects.com/the-losers-penny-marshall-should-have-won-an-oscar-da16c3f2bec0/\">never nominated for an Oscar\u003c/a>—not even when her film \u003cem>Awakenings\u003c/em> was in the running for Best Picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marshall’s work on \u003cem>Laverne & Shirley\u003c/em> was also never recognized with an Emmy nomination, as The Hollywood Reporter \u003ca href=\"https://www.hollywoodreporter.com/news/penny-marshall-dead-laverne-shirley-star-75-686405\" target=\"_blank\" rel=\"noopener\">notes with astonishment.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Penny+Marshall%2C+Filmmaker+And+%27Laverne+%26+Shirley%27+Star%2C+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-man-making-art-from-government-surveillance",
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"content": "\u003cp>Trevor Paglen writes the kinds of books that get you into weird conversations with strangers. He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>[contextly_sidebar id=”3ik7TOVrqXsWjKQIusKcHwbwTrgsmzMN”]\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>[contextly_sidebar id=”5fw6FI0bY4MtW7GPFoCEl2lZCwQAnawT”]\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>[contextly_sidebar id=”KwzzjJ7Jtmp2i0hYJnXW9dl5DLE7LVFY”]\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/669482142/669482143\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Man+Making+Art+From+Government+Surveillance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trevor Paglen writes the kinds of books that get you into weird conversations with strangers. He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Vox Lux' Is Too Much — And That's What Makes It So Invigorating",
"headTitle": "‘Vox Lux’ Is Too Much — And That’s What Makes It So Invigorating | KQED",
"content": "\u003cp>\u003cem>“That’s what I love about pop music. I don’t want people to think too hard. I just want them to feel good.” – Celeste \u003c/em>\u003c/p>\n\u003cp>Boy, there’s something so comforting about those fairy tales in which an unknown talent is plucked from obscurity to live out a dream of being rich and famous. We got a big ol’ tissue-grabber along those lines this year … what was it, about a star being born? Nothing bad can happen during a birth, right?\u003c/p>\n\u003cp>Well, \u003cem>Vox Lux\u003c/em> is not \u003cem>A Star Is Born\u003c/em>. It’s more like some kind of glitter-bombing Toxic Avenger, forged from the deadly waste that had to melt off the Bradley Cooper/Lady Gaga remake in order to make \u003cem>that \u003c/em>story of unchecked music stardom palatable to a mass audience. If you thought alcoholism was the worst thing that could happen to a dream, then, friends, you thought wrong.\u003c/p>\n\u003cp>https://youtu.be/zxdVqr4hmZU\u003c/p>\n\u003cp>Brady Corbet’s second film as writer-director is a popstar mythmaker of epic, fable-like proportions, charting a small-town teen named Celeste (Raffey Cassidy) who vaulted into the national spotlight after a horrific tragedy grants an opening, through Hell, into her budding music career. Mentally and physically unprepared for the scrutiny that follows her unexpected fame, the older Celeste (Natalie Portman in a five-alarm performance) spirals into a prism of self-loathing as she sells her image and essence, the very fact of her survival, to an insatiable industry and public. The film is drowning in lush colors and big, flamboyant makeup and hairstyles, all of them consuming Celeste while her dream-self barrels down a long, dark tunnel, unsure of what will await her on the other side.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pivotal tragedy occurs in the film’s first five minutes, yet describing it in detail would push expectations for \u003cem>Vox Lux\u003c/em> into the territory of one type of film when it is most assuredly in another. (Of equal importance to the act itself is the fact that it takes place in a music class.) What can be said is that the movie, in its two cleaved halves, conjures many different spectrums of violent death: political and personal, grandiose and self-inflicted, through different hands from 1999 through the present day. All inform, or are informed by, Celeste and the kind of art she makes: vaguely uplifting dance-pop that’s abstract enough in its message to find a home in many different corners of the universe. “Sci-fi anthems,” she tells a reporter in a demonic voice. “An experience that’s as relentless and addictive as possible.”\u003c/p>\n\u003cp>Think Sia, because she wrote the disturbingly jaunty songs featured in the movie and also serves as an executive producer. Also think Lady Gaga, because \u003cem>Vox Lux\u003c/em> is a more precise rendering of her global aesthetic than Gaga’s own serviceable-yet-gooey acoustic jams in that other movie. Maybe think Gypsy and Mama Rose, for the tear of monstrous behavior that somehow adds up to a fully exposed human. And finally, think the entire spectrum of celebrity breakdowns, from Sinead O’Connor to Britney Spears, Marilyn Monroe to Kanye West. All of them feed into Portman’s gum-chewing, eye-rolling, angel-winged persona: her fears, tics, politics of pure narcissism (“I’m the new faith”), and self-destructive tendencies. And all of them inform, in no small way, the bleak and miserable world we live in today. \u003c/p>\n\u003cp>Corbet is biting off a lot here, like he did in his directorial debut \u003cem>The Childhood of a Leader\u003c/em>. Some of his points about the direction of our celebrity-and-violence-obsessed culture feel obvious in the rearview mirror, but seeing the umpteenth movie about this stuff shimmer with an actual purpose is invigorating.\u003c/p>\n\u003cp>It would be easy to call Portman’s performance just more of the broad, camp-baiting work that won her an Oscar for \u003cem>Black Swan\u003c/em>, or to dismiss her as “overacting” just because it’s operatic in tone. Doing so would overlook all the different spirits she’s channeling into an uncompromising whole, the rage and fear she carries until it’s time to shine to her fans. Jude Law, as her manager, has the most menacing role of the piece: Initially presenting himself as a champion and defender of her integrity, he eventually reveals himself to be as vampiric and manipulative as everyone else in Celeste’s orbit. Less well-developed is the relationship between Celeste and her sister (Stacy Martin), who’s meant to be a pivotal figure in her life but never quite gets the opportunity to prove it.\u003c/p>\n\u003cp>Is this broad and bloody canvas, on a whole, too much? Sure. Portman’s pompadour and blubbering temper tantrums are too much. Willem Dafoe’s narration, hitting every beat of every theme, is too much. The double-casting of Cassidy, as both the young Celeste and the elder’s teenage daughter, is a naughty trick to pull, and it’s also too much. And the in-concert climax, set entirely onstage with the pumping bass and front-row seats to the hand-waving choreography, is \u003cem>much\u003c/em> too much. It is, after all, an experience that’s as relentless and addictive as possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the magic of the movie is exactly this: its grand ambitions, the way it reaches for the stars just as Celeste commands all her “little angels” to do. A film with this much style, ambition and potency shouldn’t be dismissed with lazy, empty words like “pretentious.” It should be celebrated as prophecy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“That’s what I love about pop music. I don’t want people to think too hard. I just want them to feel good.” – Celeste \u003c/em>\u003c/p>\n\u003cp>Boy, there’s something so comforting about those fairy tales in which an unknown talent is plucked from obscurity to live out a dream of being rich and famous. We got a big ol’ tissue-grabber along those lines this year … what was it, about a star being born? Nothing bad can happen during a birth, right?\u003c/p>\n\u003cp>Well, \u003cem>Vox Lux\u003c/em> is not \u003cem>A Star Is Born\u003c/em>. It’s more like some kind of glitter-bombing Toxic Avenger, forged from the deadly waste that had to melt off the Bradley Cooper/Lady Gaga remake in order to make \u003cem>that \u003c/em>story of unchecked music stardom palatable to a mass audience. If you thought alcoholism was the worst thing that could happen to a dream, then, friends, you thought wrong.\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/zxdVqr4hmZU'\n title='//www.youtube.com/embed/zxdVqr4hmZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brady Corbet’s second film as writer-director is a popstar mythmaker of epic, fable-like proportions, charting a small-town teen named Celeste (Raffey Cassidy) who vaulted into the national spotlight after a horrific tragedy grants an opening, through Hell, into her budding music career. Mentally and physically unprepared for the scrutiny that follows her unexpected fame, the older Celeste (Natalie Portman in a five-alarm performance) spirals into a prism of self-loathing as she sells her image and essence, the very fact of her survival, to an insatiable industry and public. The film is drowning in lush colors and big, flamboyant makeup and hairstyles, all of them consuming Celeste while her dream-self barrels down a long, dark tunnel, unsure of what will await her on the other side.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pivotal tragedy occurs in the film’s first five minutes, yet describing it in detail would push expectations for \u003cem>Vox Lux\u003c/em> into the territory of one type of film when it is most assuredly in another. (Of equal importance to the act itself is the fact that it takes place in a music class.) What can be said is that the movie, in its two cleaved halves, conjures many different spectrums of violent death: political and personal, grandiose and self-inflicted, through different hands from 1999 through the present day. All inform, or are informed by, Celeste and the kind of art she makes: vaguely uplifting dance-pop that’s abstract enough in its message to find a home in many different corners of the universe. “Sci-fi anthems,” she tells a reporter in a demonic voice. “An experience that’s as relentless and addictive as possible.”\u003c/p>\n\u003cp>Think Sia, because she wrote the disturbingly jaunty songs featured in the movie and also serves as an executive producer. Also think Lady Gaga, because \u003cem>Vox Lux\u003c/em> is a more precise rendering of her global aesthetic than Gaga’s own serviceable-yet-gooey acoustic jams in that other movie. Maybe think Gypsy and Mama Rose, for the tear of monstrous behavior that somehow adds up to a fully exposed human. And finally, think the entire spectrum of celebrity breakdowns, from Sinead O’Connor to Britney Spears, Marilyn Monroe to Kanye West. All of them feed into Portman’s gum-chewing, eye-rolling, angel-winged persona: her fears, tics, politics of pure narcissism (“I’m the new faith”), and self-destructive tendencies. And all of them inform, in no small way, the bleak and miserable world we live in today. \u003c/p>\n\u003cp>Corbet is biting off a lot here, like he did in his directorial debut \u003cem>The Childhood of a Leader\u003c/em>. Some of his points about the direction of our celebrity-and-violence-obsessed culture feel obvious in the rearview mirror, but seeing the umpteenth movie about this stuff shimmer with an actual purpose is invigorating.\u003c/p>\n\u003cp>It would be easy to call Portman’s performance just more of the broad, camp-baiting work that won her an Oscar for \u003cem>Black Swan\u003c/em>, or to dismiss her as “overacting” just because it’s operatic in tone. Doing so would overlook all the different spirits she’s channeling into an uncompromising whole, the rage and fear she carries until it’s time to shine to her fans. Jude Law, as her manager, has the most menacing role of the piece: Initially presenting himself as a champion and defender of her integrity, he eventually reveals himself to be as vampiric and manipulative as everyone else in Celeste’s orbit. Less well-developed is the relationship between Celeste and her sister (Stacy Martin), who’s meant to be a pivotal figure in her life but never quite gets the opportunity to prove it.\u003c/p>\n\u003cp>Is this broad and bloody canvas, on a whole, too much? Sure. Portman’s pompadour and blubbering temper tantrums are too much. Willem Dafoe’s narration, hitting every beat of every theme, is too much. The double-casting of Cassidy, as both the young Celeste and the elder’s teenage daughter, is a naughty trick to pull, and it’s also too much. And the in-concert climax, set entirely onstage with the pumping bass and front-row seats to the hand-waving choreography, is \u003cem>much\u003c/em> too much. It is, after all, an experience that’s as relentless and addictive as possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the magic of the movie is exactly this: its grand ambitions, the way it reaches for the stars just as Celeste commands all her “little angels” to do. A film with this much style, ambition and potency shouldn’t be dismissed with lazy, empty words like “pretentious.” It should be celebrated as prophecy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 5:56 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>As December draws its darkest hours ever longer, inching moment by moment toward the shortest day of the year — in the northern hemisphere, at least — the Pantone Color Institute is striking a defiant tone. The global experts in hue have crowned “living coral” as their annual color of the year for 2019.\u003c/p>\n\u003cp>You can also call it by its official Pantone code, 16-1546 — though admittedly that doesn’t have quite the same ring to it. It would also miss the point, in a way, since the institute selected the color for its “vibrant, yet mellow” life-affirming qualities — both our physical lives and those we lead online.\u003c/p>\n\u003cp>[contextly_sidebar id=”G84nWDenJxBif9UgAloJBocIkj80MIvp”]\u003c/p>\n\u003cp>“Representing the fusion of modern life, PANTONE Living Coral is a nurturing color that appears in our natural surroundings and at the same time, displays a lively presence within social media,” the institute \u003ca href=\"https://www.pantone.com/color-intelligence/color-of-the-year/color-of-the-year-2019\">explained in a release\u003c/a> Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/PantoneColor/videos/272055183660346/\">http://www.facebook.com/PantoneColor/videos/272055183660346/\u003c/a>\u003c/p>\n\u003cp>Since naming cerulean blue the color of 2000, the Pantone Color Institute has been passing the crown to a new shade each year, basing its choice on trends observed in a wide variety of areas — including “entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations …”\u003c/p>\n\u003cp>The list goes on.\u003c/p>\n\u003cp>Living coral is receiving the baton from a cousin on the color wheel, ultra violet — which, as NPR’s Camila Domonoske \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/07/569153010/purple-is-the-color-of-the-year-for-2018\">pointed out last year\u003c/a>, is not to be confused with invisible ultraviolet (note the lack of a space!) light. That deep purple \u003ca href=\"https://www.pantone.com/color-of-the-year-2018\">earned the laurels\u003c/a> for its “originality, ingenuity, and visionary thinking that points us towards the future.”\u003c/p>\n\u003cfigure id=\"attachment_13846490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846490 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg\" alt=\"Here's how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as "vibrant, yet mellow."\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1920x1437.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Here’s how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as “vibrant, yet mellow.” \u003ccite>(Pantone Color Institute via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for living coral, the future may present a more complicated prospect.\u003c/p>\n\u003cp>When it comes to most headlines these days, the word “coral” doesn’t often get the opportunity to be paired with “living.” It’s “dying” that gets that distinction more often than not, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/25/580227045/plastic-pollution-is-killing-coral-reefs-4-year-study-finds\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/18/602995137/climate-change-is-killing-coral-on-the-great-barrier-reef\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/05/14/477963623/new-photos-show-the-rapid-pace-of-great-barrier-reef-bleaching\">report \u003c/a>after \u003ca href=\"https://www.npr.org/2018/05/15/611258056/battered-by-bleaching-floridas-coral-reefs-now-face-mysterious-disease\">report \u003c/a>— \u003ca href=\"https://www.npr.org/tags/450307054/coral-reefs\">and so on\u003c/a> — reveal the alarming extent to which human actions have played a role in bleaching and killing coral reefs around the world.\u003c/p>\n\u003cp>[contextly_sidebar id=”CiVPhu0l0khw9MXrDdOSccDrLnfDJ2LL”]\u003c/p>\n\u003cp>In this respect, a dark irony lurks in the fact that Pantone announced its honors for living coral on the same day climate scientists revealed that \u003ca href=\"https://www.npr.org/2018/12/05/673821051/carbon-dioxide-emissions-are-up-again-what-now-climate\">global carbon emissions are climbing\u003c/a>, despite many countries’ \u003ca href=\"https://www.npr.org/2018/12/03/671243911/high-stakes-as-international-climate-conference-begins\">ambitious pledges\u003c/a> to rein them in.\u003c/p>\n\u003cp>Pantone says it selected living coral partly as a way to remind people of “the desired, familiar, and energizing aspects of color found in nature.”\u003c/p>\n\u003cp>“In its glorious, yet unfortunately more elusive, display beneath the sea, this vivifying and effervescent color mesmerizes the eye and mind,” the institute says. “Lying at the center of our naturally vivid and chromatic ecosystem, PANTONE Living Coral is evocative of how coral reefs provide shelter to a diverse kaleidoscope of color.”\u003c/p>\n\u003cp>[contextly_sidebar id=”pCnQftFUubgoDGDmLY7yLnokdizyQaNh”]\u003c/p>\n\u003cp>And that kaleidoscope is to be found not just in the natural world but on our devices, making the color a perfect bridge for the modern world’s complex dimensions, according to Pantone Executive Director \u003ca href=\"http://leatriceeiseman.com/\">Leatrice Eiseman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Color is an equalizing lens through which we experience our natural and digital realities, and this is particularly true for Living Coral,” she said in a statement Wednesday. “With consumers craving human interaction and social connection, the humanizing and heartening qualities displayed by the convivial PANTONE Living Coral hit a responsive chord.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Royal+Hue%3A+%27Living+Coral%27+Crowned+Color+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 5:56 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>As December draws its darkest hours ever longer, inching moment by moment toward the shortest day of the year — in the northern hemisphere, at least — the Pantone Color Institute is striking a defiant tone. The global experts in hue have crowned “living coral” as their annual color of the year for 2019.\u003c/p>\n\u003cp>You can also call it by its official Pantone code, 16-1546 — though admittedly that doesn’t have quite the same ring to it. It would also miss the point, in a way, since the institute selected the color for its “vibrant, yet mellow” life-affirming qualities — both our physical lives and those we lead online.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Representing the fusion of modern life, PANTONE Living Coral is a nurturing color that appears in our natural surroundings and at the same time, displays a lively presence within social media,” the institute \u003ca href=\"https://www.pantone.com/color-intelligence/color-of-the-year/color-of-the-year-2019\">explained in a release\u003c/a> Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/PantoneColor/videos/272055183660346/\">http://www.facebook.com/PantoneColor/videos/272055183660346/\u003c/a>\u003c/p>\n\u003cp>Since naming cerulean blue the color of 2000, the Pantone Color Institute has been passing the crown to a new shade each year, basing its choice on trends observed in a wide variety of areas — including “entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations …”\u003c/p>\n\u003cp>The list goes on.\u003c/p>\n\u003cp>Living coral is receiving the baton from a cousin on the color wheel, ultra violet — which, as NPR’s Camila Domonoske \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/07/569153010/purple-is-the-color-of-the-year-for-2018\">pointed out last year\u003c/a>, is not to be confused with invisible ultraviolet (note the lack of a space!) light. That deep purple \u003ca href=\"https://www.pantone.com/color-of-the-year-2018\">earned the laurels\u003c/a> for its “originality, ingenuity, and visionary thinking that points us towards the future.”\u003c/p>\n\u003cfigure id=\"attachment_13846490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846490 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg\" alt=\"Here's how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as "vibrant, yet mellow."\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1920x1437.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Here’s how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as “vibrant, yet mellow.” \u003ccite>(Pantone Color Institute via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for living coral, the future may present a more complicated prospect.\u003c/p>\n\u003cp>When it comes to most headlines these days, the word “coral” doesn’t often get the opportunity to be paired with “living.” It’s “dying” that gets that distinction more often than not, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/25/580227045/plastic-pollution-is-killing-coral-reefs-4-year-study-finds\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/18/602995137/climate-change-is-killing-coral-on-the-great-barrier-reef\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/05/14/477963623/new-photos-show-the-rapid-pace-of-great-barrier-reef-bleaching\">report \u003c/a>after \u003ca href=\"https://www.npr.org/2018/05/15/611258056/battered-by-bleaching-floridas-coral-reefs-now-face-mysterious-disease\">report \u003c/a>— \u003ca href=\"https://www.npr.org/tags/450307054/coral-reefs\">and so on\u003c/a> — reveal the alarming extent to which human actions have played a role in bleaching and killing coral reefs around the world.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In this respect, a dark irony lurks in the fact that Pantone announced its honors for living coral on the same day climate scientists revealed that \u003ca href=\"https://www.npr.org/2018/12/05/673821051/carbon-dioxide-emissions-are-up-again-what-now-climate\">global carbon emissions are climbing\u003c/a>, despite many countries’ \u003ca href=\"https://www.npr.org/2018/12/03/671243911/high-stakes-as-international-climate-conference-begins\">ambitious pledges\u003c/a> to rein them in.\u003c/p>\n\u003cp>Pantone says it selected living coral partly as a way to remind people of “the desired, familiar, and energizing aspects of color found in nature.”\u003c/p>\n\u003cp>“In its glorious, yet unfortunately more elusive, display beneath the sea, this vivifying and effervescent color mesmerizes the eye and mind,” the institute says. “Lying at the center of our naturally vivid and chromatic ecosystem, PANTONE Living Coral is evocative of how coral reefs provide shelter to a diverse kaleidoscope of color.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And that kaleidoscope is to be found not just in the natural world but on our devices, making the color a perfect bridge for the modern world’s complex dimensions, according to Pantone Executive Director \u003ca href=\"http://leatriceeiseman.com/\">Leatrice Eiseman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Color is an equalizing lens through which we experience our natural and digital realities, and this is particularly true for Living Coral,” she said in a statement Wednesday. “With consumers craving human interaction and social connection, the humanizing and heartening qualities displayed by the convivial PANTONE Living Coral hit a responsive chord.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Royal+Hue%3A+%27Living+Coral%27+Crowned+Color+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv>\u003cem>Earlonne Woods, co-host of the popular prison podcast \u003ca href=\"https://www.kqed.org/arts/13428651/producer-of-ear-hustle-radiotopias-new-podcast-on-the-reality-of-prison-life\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>, had his sentence commuted by California Gov. Jerry Brown. Woods has served 21 years of a 31 to life prison sentence.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/670313799/670313800\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003ch1>Transcript\u003c/h1>\n\u003cdiv>\n\u003cp>ARI SHAPIRO, HOST:\u003c/p>\n\u003cp>Earlier this year, we introduced you to a man named Earlonne Woods who got some big news yesterday. Woods is an inmate of the San Quentin State Prison in California. He was sentenced to 31 years to life for attempted robbery in 1999. He’s also co-host of the podcast “Ear Hustle,” which is why we had him on this program. “Ear Hustle” features stories from prison told by prisoners – their intimate, honest conversations about family visits, cellmates, solitary confinement – conversations like this one between Earlonne Woods and his co-host Nigel Poor, who’s not an inmate.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>NIGEL POOR: You know, E, you’ve been in prison 20 years. And you have another 11 to go. So how do you keep going? What keeps your hopes up?\u003c/p>\n\u003cp>EARLONNE WOODS: Well, I just keep getting up every morning, you know, thankful that I have another day, thankful that I’m alive, you know? And my mindset, regardless of where I’m at, I’m going to live to the best of my ability. You know, prison, I’m going to live to the best of my ability. Look. I’m on a podcast.\u003c/p>\n\u003cp>SHAPIRO: Well, yesterday, California Governor Jerry Brown commuted Earlonne Woods’ sentence. He said Woods has clearly shown that he is no longer the man he was when he committed the crime. We called up Nigel Poor today to ask her about it, and she said that when they got the news yesterday, they were in the middle of making an episode.\u003c/p>\n\u003cp>POOR: So we were in the media lab working and – you know, trying to work, trying to stay concentrated. But we knew that, you know, it’s traditional for the governor to do these commutations right before Thanksgiving. And the phone rang in the media lab. And I mean, we just knew that was the call. And so (laughter) it was just incredible.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods had to leave the media lab to take the call.\u003c/p>\n\u003cp>POOR: I walked him to the gate; you know, wished him good luck. He went up there.\u003c/p>\n\u003cp>SHAPIRO: When you said goodbye to him, were you crying? Did you give him a hug? I mean…\u003c/p>\n\u003cp>POOR: No, I can’t hug him.\u003c/p>\n\u003cp>SHAPIRO: You’re not allowed?\u003c/p>\n\u003cp>POOR: No, we’re not allowed. So I gave him, you know, a handshake with as much emotion as I could muster…\u003c/p>\n\u003cp>(LAUGHTER)\u003c/p>\n\u003cp>POOR: …Appropriately. And I just said, when you come back, you’re going to be almost a free man.\u003c/p>\n\u003cp>SHAPIRO: Nigel Poor told us that when Earlonne Woods came back…\u003c/p>\n\u003cp>POOR: He was walking with a lot of air in his step. You know what I mean? Like, he just seemed lighter and shiny and fresh.\u003c/p>\n\u003cp>SHAPIRO: What was your emotion?\u003c/p>\n\u003cp>POOR: You know, a kind of joy I never really experienced before – I mean, it’s – you know, to be so happy for him and being in prison and not wanting to cry (laughter) – you know, trying to hold it together. But it was just – it was spectacular. And I keep thinking, like, a week from now, Earlonne and I could be having dinner outside the prison together (laughter).\u003c/p>\n\u003cp>SHAPIRO: Like in a restaurant, at your house, any…\u003c/p>\n\u003cp>POOR: Yes. Yes, he can come to my house. We can go to a restaurant. We can go to the gym and work out together. Like, all of a sudden, you know…\u003c/p>\n\u003cp>SHAPIRO: (Laughter).\u003c/p>\n\u003cp>POOR: …We’ll be like regular colleagues.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods is 47. He’s been behind bars for more than 20 years. And, like a lot of inmates, he’s been thinking about this moment for a long time. We know because they did a whole episode on getting parole.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>WOODS: That’s something that a lot of us behind bars fantasize about – getting out and leading a normal life.\u003c/p>\n\u003cp>POOR: What are some of the things you think about when you fantasize about your life when you’re out?\u003c/p>\n\u003cp>WOODS: Off the top of my head…\u003c/p>\n\u003cp>POOR: Yeah.\u003c/p>\n\u003cp>WOODS: …It’s unrealistic, but I think about just getting out of San Quentin, jumping in the water and swimming to my yacht and going around the world.\u003c/p>\n\u003cp>POOR: Nice (laughter).\u003c/p>\n\u003cp>SHAPIRO: That’s Earlonne Woods from the podcast “Ear Hustle.” His sentence was commuted yesterday. Nigel Poor assures us the podcast will continue with Earlonne contributing stories from the outside.\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp class=\"disclaimer\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Earlonne+Woods%2C+Co-Host+Of+%27Ear+Hustle%27+Podcast%2C+Gets+Prison+Sentence+Commuted&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\u003cem>Earlonne Woods, co-host of the popular prison podcast \u003ca href=\"https://www.kqed.org/arts/13428651/producer-of-ear-hustle-radiotopias-new-podcast-on-the-reality-of-prison-life\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>, had his sentence commuted by California Gov. Jerry Brown. Woods has served 21 years of a 31 to life prison sentence.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/670313799/670313800\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003ch1>Transcript\u003c/h1>\n\u003cdiv>\n\u003cp>ARI SHAPIRO, HOST:\u003c/p>\n\u003cp>Earlier this year, we introduced you to a man named Earlonne Woods who got some big news yesterday. Woods is an inmate of the San Quentin State Prison in California. He was sentenced to 31 years to life for attempted robbery in 1999. He’s also co-host of the podcast “Ear Hustle,” which is why we had him on this program. “Ear Hustle” features stories from prison told by prisoners – their intimate, honest conversations about family visits, cellmates, solitary confinement – conversations like this one between Earlonne Woods and his co-host Nigel Poor, who’s not an inmate.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>NIGEL POOR: You know, E, you’ve been in prison 20 years. And you have another 11 to go. So how do you keep going? What keeps your hopes up?\u003c/p>\n\u003cp>EARLONNE WOODS: Well, I just keep getting up every morning, you know, thankful that I have another day, thankful that I’m alive, you know? And my mindset, regardless of where I’m at, I’m going to live to the best of my ability. You know, prison, I’m going to live to the best of my ability. Look. I’m on a podcast.\u003c/p>\n\u003cp>SHAPIRO: Well, yesterday, California Governor Jerry Brown commuted Earlonne Woods’ sentence. He said Woods has clearly shown that he is no longer the man he was when he committed the crime. We called up Nigel Poor today to ask her about it, and she said that when they got the news yesterday, they were in the middle of making an episode.\u003c/p>\n\u003cp>POOR: So we were in the media lab working and – you know, trying to work, trying to stay concentrated. But we knew that, you know, it’s traditional for the governor to do these commutations right before Thanksgiving. And the phone rang in the media lab. And I mean, we just knew that was the call. And so (laughter) it was just incredible.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods had to leave the media lab to take the call.\u003c/p>\n\u003cp>POOR: I walked him to the gate; you know, wished him good luck. He went up there.\u003c/p>\n\u003cp>SHAPIRO: When you said goodbye to him, were you crying? Did you give him a hug? I mean…\u003c/p>\n\u003cp>POOR: No, I can’t hug him.\u003c/p>\n\u003cp>SHAPIRO: You’re not allowed?\u003c/p>\n\u003cp>POOR: No, we’re not allowed. So I gave him, you know, a handshake with as much emotion as I could muster…\u003c/p>\n\u003cp>(LAUGHTER)\u003c/p>\n\u003cp>POOR: …Appropriately. And I just said, when you come back, you’re going to be almost a free man.\u003c/p>\n\u003cp>SHAPIRO: Nigel Poor told us that when Earlonne Woods came back…\u003c/p>\n\u003cp>POOR: He was walking with a lot of air in his step. You know what I mean? Like, he just seemed lighter and shiny and fresh.\u003c/p>\n\u003cp>SHAPIRO: What was your emotion?\u003c/p>\n\u003cp>POOR: You know, a kind of joy I never really experienced before – I mean, it’s – you know, to be so happy for him and being in prison and not wanting to cry (laughter) – you know, trying to hold it together. But it was just – it was spectacular. And I keep thinking, like, a week from now, Earlonne and I could be having dinner outside the prison together (laughter).\u003c/p>\n\u003cp>SHAPIRO: Like in a restaurant, at your house, any…\u003c/p>\n\u003cp>POOR: Yes. Yes, he can come to my house. We can go to a restaurant. We can go to the gym and work out together. Like, all of a sudden, you know…\u003c/p>\n\u003cp>SHAPIRO: (Laughter).\u003c/p>\n\u003cp>POOR: …We’ll be like regular colleagues.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods is 47. He’s been behind bars for more than 20 years. And, like a lot of inmates, he’s been thinking about this moment for a long time. We know because they did a whole episode on getting parole.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>WOODS: That’s something that a lot of us behind bars fantasize about – getting out and leading a normal life.\u003c/p>\n\u003cp>POOR: What are some of the things you think about when you fantasize about your life when you’re out?\u003c/p>\n\u003cp>WOODS: Off the top of my head…\u003c/p>\n\u003cp>POOR: Yeah.\u003c/p>\n\u003cp>WOODS: …It’s unrealistic, but I think about just getting out of San Quentin, jumping in the water and swimming to my yacht and going around the world.\u003c/p>\n\u003cp>POOR: Nice (laughter).\u003c/p>\n\u003cp>SHAPIRO: That’s Earlonne Woods from the podcast “Ear Hustle.” His sentence was commuted yesterday. Nigel Poor assures us the podcast will continue with Earlonne contributing stories from the outside.\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp class=\"disclaimer\">\u003cem>Copyright 2018 NPR. 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"content": "\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). Weisz and Stone constantly plot and counter-plot against each other as Colman’s Anne dithers and waffles and screams at whatever unlucky attendant should happen to enter her field of vision.\u003c/p>\n\u003cp>https://youtu.be/SYb-wkehT1g\u003c/p>\n\u003cp>At first, Colman makes Anne a downright hateful figure. Having spent her reign infantilized by those around her, she barks willfully childish demands from her bedchamber, throws tantrums, hurls herself into salty spirals of self-pity and too-willingly shunts the affairs of state onto Weisz’s Sarah. But Colman’s just too damn good to leave it at that; Anne’s initial repellent awfulness soon softens into something more pitiable, even empathetic, while her mewling self-pity hardens into a kind of resigned self-awareness—often over the course of a single scene. It’s a remarkable performance, at once hilarious and achingly sad.\u003c/p>\n\u003cp>As Sarah, Rachel Weisz gazes out at the world from behind a fixed, steely, calculating expression, her mouth pressed into a thin reptilian smile that should be registered as a lethal weapon. As she trades waspishly witty barbs with Stone (the screenplay by Deborah Davis and Tony McNamara teems with quotable insults, both veiled and very, very not), what begins as a hairline fracture in her cocksure veneer soon spiders into a crackle finish; she’s worried about her station. She has every right to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s because she’s watching, in horror, the same thing we’re watching: Emma Stone’s Abigail shuffling off her plain, humble outer layer to reveal the shrewd and cunning creature of raw ambition that lies beneath. Stone’s never been better than she is here, as the character of Abigail threads a perilous needle. The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. His characters didn’t so much speak as intone their lines in a flat, affectless monotone which served at first to amuse and fascinate, then ultimately to unsettle, our perceptions. \u003cem>The Favourite\u003c/em> forgoes such verbal constraints to freely admit messy human emotions—it’s downright awash with them—and the vocal inflections that attend them. The fact that Lanthimos didn’t write the script means that the dialogue is sharper and more acidic than usual, favoring the venomous over the vacuous.\u003c/p>\n\u003cp>Yet this is unmistakably a Lanthimos joint: The world of the film feels both familiar and foreign. Here are all the expected period-drama trappings: wigs and Whigs, Tories and topiaries, bustles and corsets and flounces. But Lanthimos films the action from low angles, to highlight the well-appointed yet oppressive ceilings hanging over everything, and underscores the artifice by employing fish-eye lenses and double-exposure to allow us to see the world through his characters’ skewed perceptions. And he doesn’t skimp on the vaguely absurdist details: dandies in powdered wigs parade their beloved ducks; a naked man gleefully withstands an odd pomegranate fusillade; a decorous waltz transforms into a kind of antic soul-train line-dance.\u003c/p>\n\u003cp>Everything looks both stately and grubby, somehow. Cinematographer Robbie Ryan’s dull, colorless light leaches through heavily leaded windows to make the rooms, with their dark rich wood and sumptuous fabrics, look passionless, even sickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That grayed-out quality of light suggests Anne’s emotional and physical state: She’s fading, and not terribly slowly. Gout and depression are catching up with her, leading to a final shot that’s even more arresting, and mysterious, and unforgettable than the uncompromising, charmingly merciless film that preceded it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). Weisz and Stone constantly plot and counter-plot against each other as Colman’s Anne dithers and waffles and screams at whatever unlucky attendant should happen to enter her field of vision.\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/SYb-wkehT1g'\n title='//www.youtube.com/embed/SYb-wkehT1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, Colman makes Anne a downright hateful figure. Having spent her reign infantilized by those around her, she barks willfully childish demands from her bedchamber, throws tantrums, hurls herself into salty spirals of self-pity and too-willingly shunts the affairs of state onto Weisz’s Sarah. But Colman’s just too damn good to leave it at that; Anne’s initial repellent awfulness soon softens into something more pitiable, even empathetic, while her mewling self-pity hardens into a kind of resigned self-awareness—often over the course of a single scene. It’s a remarkable performance, at once hilarious and achingly sad.\u003c/p>\n\u003cp>As Sarah, Rachel Weisz gazes out at the world from behind a fixed, steely, calculating expression, her mouth pressed into a thin reptilian smile that should be registered as a lethal weapon. As she trades waspishly witty barbs with Stone (the screenplay by Deborah Davis and Tony McNamara teems with quotable insults, both veiled and very, very not), what begins as a hairline fracture in her cocksure veneer soon spiders into a crackle finish; she’s worried about her station. She has every right to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s because she’s watching, in horror, the same thing we’re watching: Emma Stone’s Abigail shuffling off her plain, humble outer layer to reveal the shrewd and cunning creature of raw ambition that lies beneath. Stone’s never been better than she is here, as the character of Abigail threads a perilous needle. The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. His characters didn’t so much speak as intone their lines in a flat, affectless monotone which served at first to amuse and fascinate, then ultimately to unsettle, our perceptions. \u003cem>The Favourite\u003c/em> forgoes such verbal constraints to freely admit messy human emotions—it’s downright awash with them—and the vocal inflections that attend them. The fact that Lanthimos didn’t write the script means that the dialogue is sharper and more acidic than usual, favoring the venomous over the vacuous.\u003c/p>\n\u003cp>Yet this is unmistakably a Lanthimos joint: The world of the film feels both familiar and foreign. Here are all the expected period-drama trappings: wigs and Whigs, Tories and topiaries, bustles and corsets and flounces. But Lanthimos films the action from low angles, to highlight the well-appointed yet oppressive ceilings hanging over everything, and underscores the artifice by employing fish-eye lenses and double-exposure to allow us to see the world through his characters’ skewed perceptions. And he doesn’t skimp on the vaguely absurdist details: dandies in powdered wigs parade their beloved ducks; a naked man gleefully withstands an odd pomegranate fusillade; a decorous waltz transforms into a kind of antic soul-train line-dance.\u003c/p>\n\u003cp>Everything looks both stately and grubby, somehow. Cinematographer Robbie Ryan’s dull, colorless light leaches through heavily leaded windows to make the rooms, with their dark rich wood and sumptuous fabrics, look passionless, even sickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That grayed-out quality of light suggests Anne’s emotional and physical state: She’s fading, and not terribly slowly. Gout and depression are catching up with her, leading to a final shot that’s even more arresting, and mysterious, and unforgettable than the uncompromising, charmingly merciless film that preceded it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "28 Trombonists Play 'Bohemian Rhapsody,' Will Send Shivers Down Your Spine",
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"content": "\u003cp>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>[contextly_sidebar id=”xhFw1hWbN6SJGMUW5E0yJQYd1TVToFAy”]\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>[contextly_sidebar id=”D3dkZcvZ9fVL9a3KKZGoY8RKdppLFLie”]\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Gone Girl: New York's 'Fearless Girl' Statue Is 'On The Move'",
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"content": "\u003cp>Early Wednesday morning, a girl — about 4 feet tall with bronze hair, bronze shoes and a bronze dress — went missing.\u003c/p>\n\u003cp>She was last seen in the New York City financial district standing akimbo and facing down a large bull. She left only a pair of footprints and a not-so-cryptic message in her wake.\u003c/p>\n\u003cp>“Fearless Girl is on the move to The New York Stock Exchange,” \u003ca href=\"https://twitter.com/StateStreetGA/status/1067754946559438849\">the message read\u003c/a>. “Until she’s there, stand for her.”\u003c/p>\n\u003cp>https://twitter.com/StateStreetGA/status/1067754946559438849\u003c/p>\n\u003cp>The \u003cem>Fearless Girl\u003c/em> statue was originally placed adjacent to that of the \u003cem>Charging Bull\u003c/em> in the northern corner of Bowling Green Park in March 2017. The group that installed the piece, State Street Global Advisors, says it did so \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/wall-street-meet-fearless-girl.html\">“to raise awareness about the importance of gender diversity in corporate leadership.”\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”lVuxEGPA7lC57vmEoxFjzTZ4EubDMaQJ”]\u003c/p>\n\u003cp>The investment management firm claims that between the placement of the statue and late September, \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/state-street-global-advisors-reports-fearless-girls-impact-more-300-companie\">more than 300 companies have added a female director\u003c/a>.\u003c/p>\n\u003cp>However, the firm and its statue have been a the center of a few controversies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\">NPR’s Camila Domonoske reported\u003c/a> in October 2017 that a Department of Labor investigation found the statue’s State Street sponsors had underpaid female and black executives.\u003c/p>\n\u003cp>In addition, the artist behind the \u003cem>Charging Bull, \u003c/em>Arturo Di Modica, has called the \u003cem>Fearless Girl\u003c/em> an “advertising trick” that makes the subject of his own sculpture into a villain. As a result, a different artist who supports Di Modica created a third sculpture of a dog peeing on the bronze girl’s leg, which made its brief cameo in this drama in May 2017, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\">reported by NPR’s Colin Dwyer\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”12e2mrS5wmxNgAVTfDVsTybYlqHvUSAX”]\u003c/p>\n\u003cp>The relocation of Kristen Visbal’s \u003cem>Fearless Girl\u003c/em> began late Tuesday night but was announced back in April in a \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/new-york-city-mayor-and-state-street-global-advisors-announce-new-location-f\">statement by State Street and New York City Mayor Bill de Blasio\u003c/a>.\u003c/p>\n\u003cp>“Our hope is that by moving her closer to the NYSE she will encourage more companies to take action and, more broadly, that she will continue to inspire people from all walks of life on the issue of gender diversity,” State Street Global Advisors President and CEO Cyrus Taraporevala said.\u003c/p>\n\u003cp>However, local television station \u003ca href=\"https://abc7ny.com/finance/fearless-girl-statue-moved-from-spot-opposite-bull/4779944/\">WABC reported\u003c/a> conversations among city officials regarding both the bull and girl statues have focused on the traffic hazard they present. They were both located on the narrow end of Bowling Green Park, which also acts as a median on busy Broadway — where crowds gathered around the statues often spilled over.\u003c/p>\n\u003cp>“This move to a new location will ensure that her message and impact will continue to be heard, as well as improve access for visitors,” De Blasio said in April’s statement.\u003c/p>\n\u003cp>The mayor’s spokesman \u003ca href=\"https://twitter.com/EricFPhillips/status/986982997231570946\">Eric Phillips also tweeted\u003c/a> around that time that the \u003cem>Charging Bull\u003c/em> statue “will almost certainly be moved” as well.\u003c/p>\n\u003cp>https://twitter.com/EricFPhillips/status/986982997231570946?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E986982997231570946&ref_url=https%3A%2F%2Fwww.npr.org%2F2018%2F11%2F28%2F671546407%2Fgone-girl-lower-manhattan-fearless-girl-statue-is-on-the-move\u003c/p>\n\u003cp>The more than three and a half ton, 18-foot-long bronze bull was originally placed on Broad Street right in front of the NYSE building on \u003ca href=\"http://chargingbull.com/chargingbull.html\">December 15, 1989, by Di Modica\u003c/a> but was removed later that day. It was relocated to its current home at Bowling Green Park.\u003c/p>\n\u003cp>Intended to be just a temporary display — for a few weeks — the smaller female icon became too popular to be removed, according to WABC.\u003c/p>\n\u003cp>The television station also spoke to the Aranda family, who walked by the statue on the way to school for the year plus that it had been there.\u003c/p>\n\u003cp>“We definitely are going to miss her,” Leonardo Aranda told the television station, adding that “raising boys who stand up for women and raising strong girls who go on to be strong women” is important and is something they try to communicate to their kids.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The relocation of the statue is expected to be complete before the end of this year.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gone+Girl%3A+Lower+Manhattan+%27Fearless+Girl%27+Statue+Is+%27On+The+Move%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Fearless Girl\u003c/em> appeared across from the \u003cem>Charging Bull\u003c/em> on the eve of International Women's Day in 2017. It has now been removed and will be placed in front of the New York Stock Exchange.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The \u003cem>Fearless Girl\u003c/em> statue was originally placed adjacent to that of the \u003cem>Charging Bull\u003c/em> in the northern corner of Bowling Green Park in March 2017. The group that installed the piece, State Street Global Advisors, says it did so \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/wall-street-meet-fearless-girl.html\">“to raise awareness about the importance of gender diversity in corporate leadership.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The investment management firm claims that between the placement of the statue and late September, \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/state-street-global-advisors-reports-fearless-girls-impact-more-300-companie\">more than 300 companies have added a female director\u003c/a>.\u003c/p>\n\u003cp>However, the firm and its statue have been a the center of a few controversies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\">NPR’s Camila Domonoske reported\u003c/a> in October 2017 that a Department of Labor investigation found the statue’s State Street sponsors had underpaid female and black executives.\u003c/p>\n\u003cp>In addition, the artist behind the \u003cem>Charging Bull, \u003c/em>Arturo Di Modica, has called the \u003cem>Fearless Girl\u003c/em> an “advertising trick” that makes the subject of his own sculpture into a villain. As a result, a different artist who supports Di Modica created a third sculpture of a dog peeing on the bronze girl’s leg, which made its brief cameo in this drama in May 2017, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\">reported by NPR’s Colin Dwyer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The relocation of Kristen Visbal’s \u003cem>Fearless Girl\u003c/em> began late Tuesday night but was announced back in April in a \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/new-york-city-mayor-and-state-street-global-advisors-announce-new-location-f\">statement by State Street and New York City Mayor Bill de Blasio\u003c/a>.\u003c/p>\n\u003cp>“Our hope is that by moving her closer to the NYSE she will encourage more companies to take action and, more broadly, that she will continue to inspire people from all walks of life on the issue of gender diversity,” State Street Global Advisors President and CEO Cyrus Taraporevala said.\u003c/p>\n\u003cp>However, local television station \u003ca href=\"https://abc7ny.com/finance/fearless-girl-statue-moved-from-spot-opposite-bull/4779944/\">WABC reported\u003c/a> conversations among city officials regarding both the bull and girl statues have focused on the traffic hazard they present. They were both located on the narrow end of Bowling Green Park, which also acts as a median on busy Broadway — where crowds gathered around the statues often spilled over.\u003c/p>\n\u003cp>“This move to a new location will ensure that her message and impact will continue to be heard, as well as improve access for visitors,” De Blasio said in April’s statement.\u003c/p>\n\u003cp>The mayor’s spokesman \u003ca href=\"https://twitter.com/EricFPhillips/status/986982997231570946\">Eric Phillips also tweeted\u003c/a> around that time that the \u003cem>Charging Bull\u003c/em> statue “will almost certainly be moved” as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The more than three and a half ton, 18-foot-long bronze bull was originally placed on Broad Street right in front of the NYSE building on \u003ca href=\"http://chargingbull.com/chargingbull.html\">December 15, 1989, by Di Modica\u003c/a> but was removed later that day. It was relocated to its current home at Bowling Green Park.\u003c/p>\n\u003cp>Intended to be just a temporary display — for a few weeks — the smaller female icon became too popular to be removed, according to WABC.\u003c/p>\n\u003cp>The television station also spoke to the Aranda family, who walked by the statue on the way to school for the year plus that it had been there.\u003c/p>\n\u003cp>“We definitely are going to miss her,” Leonardo Aranda told the television station, adding that “raising boys who stand up for women and raising strong girls who go on to be strong women” is important and is something they try to communicate to their kids.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The relocation of the statue is expected to be complete before the end of this year.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gone+Girl%3A+Lower+Manhattan+%27Fearless+Girl%27+Statue+Is+%27On+The+Move%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Margaret Atwood Is Writing A Sequel To 'The Handmaid's Tale'",
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"content": "\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnIMDykalEpo8j5cIjzPAtxkrHoMuFN2″]\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>[contextly_sidebar id=”JI6rj7b5P2DiBUbFkiSeHPNF4hRkCOwc”]\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>[contextly_sidebar id=”jmB4R69bsZU2dRuxioDgmnJEIr0JyBlT”]\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Atwood said that she was inspired by readers' questions about the dystopian world of Gilead — and, she says, by \"the world we've been living in.\" It's set to be released next September.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\u003c/p>\n\u003cp>https://youtu.be/T77PDm3e1iE\u003c/p>\n\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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