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"content": "\u003cp>Aug. 25, 2018 marks \u003ca href=\"https://leonardbernstein.com/\">the centennial\u003c/a> of \u003ca href=\"https://www.npr.org/artists/15234027/leonard-bernstein\">Leonard Bernstein\u003c/a>‘s birth. He was a singular American talent and one of the great orchestra conductors of his generation. He was also a composer of symphonies, ballets and hit musicals, a teacher, a television personality and a complicated man with a complicated personal life.\u003c/p>\n\u003cp>If there was one moment when Leonard Bernstein became Leonard Bernstein, at least to the general public, it was at a concert by the New York Philharmonic on \u003ca href=\"https://leonardbernstein.com/about/conductor/historic-concerts/the-debut-concert-1943\">Nov. 14, 1943 at Carnegie Hall\u003c/a> in Manhattan. The conductor, Bruno Walter, called in sick. The 25-year-old Bernstein stepped in with only a few hours’ notice and without a single rehearsal.\u003c/p>\n\u003cp>“When my father climbed up on that podium in Carnegie Hall and conducted the New York Philharmonic on a national radio broadcast that Sunday afternoon, that was why it was front page news the next day. Like, ‘Local boy makes good,'” says Jamie Bernstein, the late conductor’s daughter.\u003c/p>\n\u003cp>In just the following year alone, Bernstein premiered his first symphony, \u003cem>Jeremiah\u003c/em>, his first ballet, \u003cem>Fancy Free\u003c/em> and his first Broadway musical, \u003cem>On the Town\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-800x599.jpg\" alt=\""Sometimes when you watch Bernstein conduct ... it's his own involvement and enthusiasm at that moment, his own kind of oneness with the work," archivist Barbara Haws says.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13839683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sometimes when you watch Bernstein conduct … it’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work,” archivist Barbara Haws says.\u003cbr> \u003ccite>(Paul de Hueck/Courtesy of The Leonard Bernstein Office, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein grew up outside of Boston, born to Russian immigrant parents. His father, Sam, had every expectation that his son would follow him into the hair and beauty products business, to the point that he wouldn’t pay for young Leonard’s piano lessons. Nevertheless, Bernstein studied at Harvard and the Curtis Institute of Music, and spent summers at Tanglewood, the \u003ca href=\"https://www.bso.org/Home\">Boston Symphony Orchestra\u003c/a>‘s seasonal home in the Berkshires. It was there that Bernstein came under the influence of conductor Serge Koussevitzky and composer \u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>. The two of them had grand plans for their protégé, says Nigel Simeone, who edited a volume of Bernstein’s letters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘\u003cem>I don’t know whether they think of me as a conductor or a composer, you know. Maybe they want me to be a conductor so that I can play their music and they don’t want me to be a composer so that I’m not kind of competition for them\u003c/em>,'” Simeone says, reading from one of Bernstein’s letters. “I don’t think Copland saw it that way, at all. But I think he did see in Bernstein somebody who could be, you know, a really stunning advocate of his music and of other people’s music.”\u003c/p>\n\u003cp>Whether to be a conductor or a composer was one of the big conflicts of Bernstein’s life. Yet he was good at expressing those feelings in the music to his orchestras, according to New York Philharmonic archivist Barbara Haws.\u003c/p>\n\u003cp>“Sometimes when you watch Bernstein conduct, and he’s so involved and he’s so into it — you know, it’s his own expression,” Haws says. “It’s not even trying to communicate something specific to the orchestra. It’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rxwWlQNGeKE\u003c/p>\n\u003cp>And communicating that enthusiasm to audiences led to, perhaps, one of Leonard Bernstein’s greatest contributions. His nationally televised Young People’s Concerts not only helped introduce classical music to children, but also popularized it with their parents.\u003c/p>\n\u003cp>Some of those TV scripts were worked out at home with his kids, Jamie Bernstein says. But she notes that her father had to turn off that public persona to compose. “A composer is solitary and contemplative and turned inward,” she says. “They have to work all by themselves, which was not a thing my father liked to do. He hated being all alone.”\u003c/p>\n\u003cp>This may explain why, for many, some of Bernstein’s greatest compositions were for either the ballet or the theater, where he was able to collaborate in the same room with artists such as choreographer Jerome Robbins or lyricist \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\">Stephen Sondheim\u003c/a>, as they did for \u003cem>West Side Story\u003c/em> in 1957. Jazz pianist Bill Charlap says Bernstein’s music for the theater was as serious as his music for the concert hall. “It’s real through-composed music, all the way from the bottom to the top,” he says.\u003c/p>\n\u003cp>Bernstein’s personal life was complex as well. As a young man, he had many gay affairs, but he married Felicia Montealegre, a Chilean-born actress, and raised a family. And while their family life was loving, Jamie Bernstein has revealed some less savory aspects of her father’s behavior in her recently published memoir, \u003cem>Famous Father Girl: A Memoir of Growing Up Bernstein. \u003c/em>She recalls\u003cem> \u003c/em>unwanted kissing of men and women, and of herself.\u003c/p>\n\u003cp>“He prided himself on being governed by his whims, in a way in a way that’s just not really adult,” says Anne Midgette, the \u003cem>Washington Post\u003c/em> music critic who has written about the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo movement\u003c/a> in classical music and about Bernstein. “For a long time, our society has embraced this view of artists as people who were to be indulged. Bernstein kind of epitomizes that. And I feel like we, as a society, are moving past that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Midgette sees Bernstein as a crucial figure in classical music, as does Barbara Haws. “We’re still trying to find the next Leonard Bernstein,” Haws says. “He set that bar so high that it’s very difficult for symphony orchestras to kind of recover and move on, because you only have one of those, probably, once in a century, if you’re lucky.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Complex+Life+Of+Leonard+Bernstein%2C+A+Once-In-A-Century+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aug. 25, 2018 marks \u003ca href=\"https://leonardbernstein.com/\">the centennial\u003c/a> of \u003ca href=\"https://www.npr.org/artists/15234027/leonard-bernstein\">Leonard Bernstein\u003c/a>‘s birth. He was a singular American talent and one of the great orchestra conductors of his generation. He was also a composer of symphonies, ballets and hit musicals, a teacher, a television personality and a complicated man with a complicated personal life.\u003c/p>\n\u003cp>If there was one moment when Leonard Bernstein became Leonard Bernstein, at least to the general public, it was at a concert by the New York Philharmonic on \u003ca href=\"https://leonardbernstein.com/about/conductor/historic-concerts/the-debut-concert-1943\">Nov. 14, 1943 at Carnegie Hall\u003c/a> in Manhattan. The conductor, Bruno Walter, called in sick. The 25-year-old Bernstein stepped in with only a few hours’ notice and without a single rehearsal.\u003c/p>\n\u003cp>“When my father climbed up on that podium in Carnegie Hall and conducted the New York Philharmonic on a national radio broadcast that Sunday afternoon, that was why it was front page news the next day. Like, ‘Local boy makes good,'” says Jamie Bernstein, the late conductor’s daughter.\u003c/p>\n\u003cp>In just the following year alone, Bernstein premiered his first symphony, \u003cem>Jeremiah\u003c/em>, his first ballet, \u003cem>Fancy Free\u003c/em> and his first Broadway musical, \u003cem>On the Town\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-800x599.jpg\" alt=\""Sometimes when you watch Bernstein conduct ... it's his own involvement and enthusiasm at that moment, his own kind of oneness with the work," archivist Barbara Haws says.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13839683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sometimes when you watch Bernstein conduct … it’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work,” archivist Barbara Haws says.\u003cbr> \u003ccite>(Paul de Hueck/Courtesy of The Leonard Bernstein Office, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein grew up outside of Boston, born to Russian immigrant parents. His father, Sam, had every expectation that his son would follow him into the hair and beauty products business, to the point that he wouldn’t pay for young Leonard’s piano lessons. Nevertheless, Bernstein studied at Harvard and the Curtis Institute of Music, and spent summers at Tanglewood, the \u003ca href=\"https://www.bso.org/Home\">Boston Symphony Orchestra\u003c/a>‘s seasonal home in the Berkshires. It was there that Bernstein came under the influence of conductor Serge Koussevitzky and composer \u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>. The two of them had grand plans for their protégé, says Nigel Simeone, who edited a volume of Bernstein’s letters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘\u003cem>I don’t know whether they think of me as a conductor or a composer, you know. Maybe they want me to be a conductor so that I can play their music and they don’t want me to be a composer so that I’m not kind of competition for them\u003c/em>,'” Simeone says, reading from one of Bernstein’s letters. “I don’t think Copland saw it that way, at all. But I think he did see in Bernstein somebody who could be, you know, a really stunning advocate of his music and of other people’s music.”\u003c/p>\n\u003cp>Whether to be a conductor or a composer was one of the big conflicts of Bernstein’s life. Yet he was good at expressing those feelings in the music to his orchestras, according to New York Philharmonic archivist Barbara Haws.\u003c/p>\n\u003cp>“Sometimes when you watch Bernstein conduct, and he’s so involved and he’s so into it — you know, it’s his own expression,” Haws says. “It’s not even trying to communicate something specific to the orchestra. It’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rxwWlQNGeKE'\n title='//www.youtube.com/embed/rxwWlQNGeKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And communicating that enthusiasm to audiences led to, perhaps, one of Leonard Bernstein’s greatest contributions. His nationally televised Young People’s Concerts not only helped introduce classical music to children, but also popularized it with their parents.\u003c/p>\n\u003cp>Some of those TV scripts were worked out at home with his kids, Jamie Bernstein says. But she notes that her father had to turn off that public persona to compose. “A composer is solitary and contemplative and turned inward,” she says. “They have to work all by themselves, which was not a thing my father liked to do. He hated being all alone.”\u003c/p>\n\u003cp>This may explain why, for many, some of Bernstein’s greatest compositions were for either the ballet or the theater, where he was able to collaborate in the same room with artists such as choreographer Jerome Robbins or lyricist \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\">Stephen Sondheim\u003c/a>, as they did for \u003cem>West Side Story\u003c/em> in 1957. Jazz pianist Bill Charlap says Bernstein’s music for the theater was as serious as his music for the concert hall. “It’s real through-composed music, all the way from the bottom to the top,” he says.\u003c/p>\n\u003cp>Bernstein’s personal life was complex as well. As a young man, he had many gay affairs, but he married Felicia Montealegre, a Chilean-born actress, and raised a family. And while their family life was loving, Jamie Bernstein has revealed some less savory aspects of her father’s behavior in her recently published memoir, \u003cem>Famous Father Girl: A Memoir of Growing Up Bernstein. \u003c/em>She recalls\u003cem> \u003c/em>unwanted kissing of men and women, and of herself.\u003c/p>\n\u003cp>“He prided himself on being governed by his whims, in a way in a way that’s just not really adult,” says Anne Midgette, the \u003cem>Washington Post\u003c/em> music critic who has written about the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo movement\u003c/a> in classical music and about Bernstein. “For a long time, our society has embraced this view of artists as people who were to be indulged. Bernstein kind of epitomizes that. And I feel like we, as a society, are moving past that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Midgette sees Bernstein as a crucial figure in classical music, as does Barbara Haws. “We’re still trying to find the next Leonard Bernstein,” Haws says. “He set that bar so high that it’s very difficult for symphony orchestras to kind of recover and move on, because you only have one of those, probably, once in a century, if you’re lucky.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Complex+Life+Of+Leonard+Bernstein%2C+A+Once-In-A-Century+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Robyn Is The 21st Century's Pop Oracle",
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"content": "\u003cp>There is this moment, about a minute and a half into the music video for \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn\u003c/a>’s flawless 2010 single “Call Your Girlfriend,” that gives us a quintessential glimpse, something just shy of a thesis, of the Swedish pop star. In it, she’s doing a highly aerobic choreographed dance in an empty warehouse, performing to the camera, which is capturing it in a single, continuous shot; the song she’s singing is premised largely on passing caring and hard-won advice about getting over a break-up to a woman through the man she is seemingly stealing from her. The song foregrounds the feelings of the two women; the romance with the new dude is somewhere in the backseat.\u003c/p>\n\u003cp>As Robyn is laying this drama, she’s meeting our gaze by staring intently back at us through the camera; she’s pacing through stuttering rhythmic moves, her severe silvery-white bowlcut motionless throughout. She’s fully clothed in a long-sleeve sweater, leggings and candy pink platform oxfords. She prances backwards and with a rough somersault, unfurls herself, cheek to the floor. She humps the ground in a way that recalls both Prince and a cartoon caterpillar while intoning the line “Tell her that I give you something you never even knew you missed.” The camera does not zoom in on her body; it does not grant the reassurance a close-up of Robyn’s smiling or seductive face would provide. Robyn then rolls away on the floor in her Muppet-y sweater. She’s not here to seduce us in all the hackneyed ways that are so familiar. She’s here to give us something we never even knew we missed.\u003c/p>\n\u003cp>[contextly_sidebar id=”zzH3Ft2NdlbDDmL2shNGslcptsm7MnKF”]\u003c/p>\n\u003cp>Since early on in her two-decade-plus career as a pop artist, the popular line has always been that even though Robyn has the perfect voice and songs that fit seamlessly amid the bland and the bold of the American pop Top 40, she’s never quite broken through, because something is \u003cem>off\u003c/em>. She’s \u003cem>too\u003c/em> Euro, \u003cem>too\u003c/em> cool, \u003cem>too\u003c/em> weird—but that insistent “too” reveals the unspoken rules: We demand pop star girls to be less; to be vessels for our desire, not confidently expressing the complexity of their own; malleable, not showing up with an auteur’s vision. They are supposed to be writhing, glistening tits-up on the floor, not log-rolling away in a sweater. She sings on 2005’s “Who’s That Girl:”\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Who’s that girl that you dream of?\u003cbr>Who’s that girl that you think you love?\u003cbr>Who’s that girl, well I’m nothing like her\u003cbr>I know there’s no such girl\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In blunting the fantasy-girl with the real, it’s not that Robyn isn’t (fill in the blank) enough, but rather, \u003cem>she’s\u003c/em> \u003cem>everything.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reductive reasoning about Robyn also misses the way her image and music has been so instructive for both her fans and the artists who came in her wake. She’s an artist in control of her work, a soft-butch cool-girl who served us a dreamy possibility beyond the rigid binaries, who adapted pop’s dance floor language into something that served her own dreams. Her complexity is a kind of permission; leaving the major label climate after a decade of nursing stardom to start her own label (Konichiwa Records) and make the music she wanted to make, taking long multi-year stretches between releasing her albums, being a constant collaborator (\u003ca href=\"https://www.npr.org/artists/154570682/neneh-cherry\">Neneh Cherry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15793896/the-knife\">The Knife\u003c/a>, Röyksopp), making EPs and mini-albums as is her wont. She has conducted her career with continual centering on independence, on what makes sense and suits her, rather than any sort of industry convention or pacing. She’s a teen pop star who has only gotten more interesting and assertive with age, an artist who is not ducking out, now, at 39. She’s served as an icon for weird girls, queer artists and non-binary folks who are the innovators behind some of the best pop music (and its boldest experiments) of the last few years: \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, \u003ca href=\"https://www.npr.org/artists/167801992/perfume-genius\">Perfume Genius\u003c/a>, \u003ca href=\"https://www.npr.org/artists/160542455/carly-rae-jepsen\">Carly Rae Jepsen\u003c/a>, Alma, SSION and \u003ca href=\"https://www.npr.org/artists/370400904/charli-xcx\">Charli XCX\u003c/a> chief among them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While her image and her independence continue to matter, her songs are what have gained salience in recent years. While thematic echoes of “Dancing on My Own,” show up in Lorde’s “Green Light” (the young singer performed with a framed portrait of Robyn on \u003cem>Saturday Night Live\u003c/em> last year)—the spiritual endowment of, particularly, Robyn’s post-2005 work feels especially prescient. The songs of \u003cem>Robyn\u003c/em> and the three-part \u003cem>Body Talk\u003c/em> endure musically, and the emotional range in them still feels revelatory—a relief even. She created dance floor anthems that stack hooks with anger (“Don’t F*cking Tell Me What To Do,” “Dancing On My Own”), alienation (“None of Dem”) resistance (“Fembot”) and sorrow (“Missing U”) and cynicism (“Love Kills”) as much as they broach romance. Historically, the dance floor has been a safe space, a night-long utopia of lust and freedom and carefree self-expression. In 2018, it’s all the more necessary. But the reality is that we need music that brings—and allows for—so much more: for songs that assure us that yes, music is the place where we can come in our frightened loneliness. Even in the darkness of our mourning, our confusion and sadness, Robyn assures, again and again, that the disco ball will still shine on us.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robyn+Is+The+21st+Century%27s+Pop+Oracle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is this moment, about a minute and a half into the music video for \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn\u003c/a>’s flawless 2010 single “Call Your Girlfriend,” that gives us a quintessential glimpse, something just shy of a thesis, of the Swedish pop star. In it, she’s doing a highly aerobic choreographed dance in an empty warehouse, performing to the camera, which is capturing it in a single, continuous shot; the song she’s singing is premised largely on passing caring and hard-won advice about getting over a break-up to a woman through the man she is seemingly stealing from her. The song foregrounds the feelings of the two women; the romance with the new dude is somewhere in the backseat.\u003c/p>\n\u003cp>As Robyn is laying this drama, she’s meeting our gaze by staring intently back at us through the camera; she’s pacing through stuttering rhythmic moves, her severe silvery-white bowlcut motionless throughout. She’s fully clothed in a long-sleeve sweater, leggings and candy pink platform oxfords. She prances backwards and with a rough somersault, unfurls herself, cheek to the floor. She humps the ground in a way that recalls both Prince and a cartoon caterpillar while intoning the line “Tell her that I give you something you never even knew you missed.” The camera does not zoom in on her body; it does not grant the reassurance a close-up of Robyn’s smiling or seductive face would provide. Robyn then rolls away on the floor in her Muppet-y sweater. She’s not here to seduce us in all the hackneyed ways that are so familiar. She’s here to give us something we never even knew we missed.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since early on in her two-decade-plus career as a pop artist, the popular line has always been that even though Robyn has the perfect voice and songs that fit seamlessly amid the bland and the bold of the American pop Top 40, she’s never quite broken through, because something is \u003cem>off\u003c/em>. She’s \u003cem>too\u003c/em> Euro, \u003cem>too\u003c/em> cool, \u003cem>too\u003c/em> weird—but that insistent “too” reveals the unspoken rules: We demand pop star girls to be less; to be vessels for our desire, not confidently expressing the complexity of their own; malleable, not showing up with an auteur’s vision. They are supposed to be writhing, glistening tits-up on the floor, not log-rolling away in a sweater. She sings on 2005’s “Who’s That Girl:”\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Who’s that girl that you dream of?\u003cbr>Who’s that girl that you think you love?\u003cbr>Who’s that girl, well I’m nothing like her\u003cbr>I know there’s no such girl\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In blunting the fantasy-girl with the real, it’s not that Robyn isn’t (fill in the blank) enough, but rather, \u003cem>she’s\u003c/em> \u003cem>everything.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reductive reasoning about Robyn also misses the way her image and music has been so instructive for both her fans and the artists who came in her wake. She’s an artist in control of her work, a soft-butch cool-girl who served us a dreamy possibility beyond the rigid binaries, who adapted pop’s dance floor language into something that served her own dreams. Her complexity is a kind of permission; leaving the major label climate after a decade of nursing stardom to start her own label (Konichiwa Records) and make the music she wanted to make, taking long multi-year stretches between releasing her albums, being a constant collaborator (\u003ca href=\"https://www.npr.org/artists/154570682/neneh-cherry\">Neneh Cherry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15793896/the-knife\">The Knife\u003c/a>, Röyksopp), making EPs and mini-albums as is her wont. She has conducted her career with continual centering on independence, on what makes sense and suits her, rather than any sort of industry convention or pacing. She’s a teen pop star who has only gotten more interesting and assertive with age, an artist who is not ducking out, now, at 39. She’s served as an icon for weird girls, queer artists and non-binary folks who are the innovators behind some of the best pop music (and its boldest experiments) of the last few years: \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, \u003ca href=\"https://www.npr.org/artists/167801992/perfume-genius\">Perfume Genius\u003c/a>, \u003ca href=\"https://www.npr.org/artists/160542455/carly-rae-jepsen\">Carly Rae Jepsen\u003c/a>, Alma, SSION and \u003ca href=\"https://www.npr.org/artists/370400904/charli-xcx\">Charli XCX\u003c/a> chief among them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While her image and her independence continue to matter, her songs are what have gained salience in recent years. While thematic echoes of “Dancing on My Own,” show up in Lorde’s “Green Light” (the young singer performed with a framed portrait of Robyn on \u003cem>Saturday Night Live\u003c/em> last year)—the spiritual endowment of, particularly, Robyn’s post-2005 work feels especially prescient. The songs of \u003cem>Robyn\u003c/em> and the three-part \u003cem>Body Talk\u003c/em> endure musically, and the emotional range in them still feels revelatory—a relief even. She created dance floor anthems that stack hooks with anger (“Don’t F*cking Tell Me What To Do,” “Dancing On My Own”), alienation (“None of Dem”) resistance (“Fembot”) and sorrow (“Missing U”) and cynicism (“Love Kills”) as much as they broach romance. Historically, the dance floor has been a safe space, a night-long utopia of lust and freedom and carefree self-expression. In 2018, it’s all the more necessary. But the reality is that we need music that brings—and allows for—so much more: for songs that assure us that yes, music is the place where we can come in our frightened loneliness. Even in the darkness of our mourning, our confusion and sadness, Robyn assures, again and again, that the disco ball will still shine on us.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robyn+Is+The+21st+Century%27s+Pop+Oracle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the first things actors learn is how to become highly suggestible: Take a cue from a director, a script, a parent, a memory or a dream, and use it to become someone else. Acting classes instruct on the fine art of removing that layer of yourself that says, “No, I shouldn’t do this, it isn’t me.” Fail to break down those walls, and you aren’t much of a performer; knock too many down, and you may lose yourself. \u003c/p>\n\u003cp>\u003cem>Madeline’s Madeline\u003c/em>, the third feature from writer-director Josephine Decker, follows a teenaged girl in one of these acting classes. But the film is also teaching us what it means to be a performer who is not yet a fully realized person — someone trying to learn suggestibility and independence at the same time. Those with knowledge of these spaces will find instant recognition in the empty stage’s unreality — a place where anyone can scream out a suggestion, and force everyone else to fall in line. \u003c/p>\n\u003cp>In this world, despite her youth, Madeline is the star pupil: a gifted actor, particularly when she gets to inhabit nonhuman roles like cats and turtles. But the trouble starts when she has to play herself, and that unreality doesn’t stay safely on the stage. Madeline has mental illness, and may or may not have had some psychotic episodes in her past, with her emotional triggers almost always delivered by her needy, quivering mother. Her acting teacher starts picking up on some of this unresolved tension, and ropes Madeline’s mother into the troupe’s upcoming experimental performance, determined to unlock the reservoirs of rage and uncertainty that lie underneath this girl’s scrawny, frizzy-haired frame.\u003c/p>\n\u003cp>The film is anchored at every turn by newcomer Helena Howard’s big, brash and brilliant lead performance. Born out of improv exercises between Howard and Decker, Madeline is front-and-center of every frame, both assured and volatile, quick to lash out and yet also easily manipulated. Her showdowns with her mother (played with brittle unease by Miranda July, the last person on Earth you’d expect to see as a humorless working mom) are stacked with unresolved tension; early on, Madeline sprints into her mom’s car straight from a theater game, ducking her head down and yelling at her mom to drive. It’s an invite of sorts to play along, but mom takes things way too seriously, panicking that someone is really after them, and you get a perfect feel for how stifling life in that household must be for someone of Madeline’s talents and temperament. \u003c/p>\n\u003cp>This tension manifests itself in violent dreams, or at least you hope they’re only dreams. Madeline discloses one, where she takes an iron to her mom’s hand, to her beloved instructor Evangeline (Molly Parker). But actors are not psychologists, and so when Evangeline looks at this private moment she sees only an opportunity to improve her art, consequences be damned. Suddenly the entire production recenters around Madeline’s relationship with her mother, and the other actors start wearing her floral sweaters and imitating her motions. What is performance, and what is just … well, unhealthy? How about when Madeline, whose black father remains unseen, goes to dinner at Evangeline’s house and discovers her instructor has a black husband, and what that might mean about her own lofty perch in the class? There’s nothing like running away from one adult who’s trying to shape you, only to find yourself being used by another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that \u003cem>Madeline’s Madeline\u003c/em> comes out of a very precise, self-sustaining corner of the indie film world (Decker has been in Joe Swanberg’s circle of collaborators for years, and co-lead July is one of our most prized hipster auteurs), there’s a temptation to write it off as unserious, something meant only to speak to a small orbit of those in the know. But that would be a mistake. Like Decker’s earlier two works \u003cem>Butter on the Latch\u003c/em> and \u003cem>Thou Wast Mild and Lovely\u003c/em>, the film finds new ways of exploring female desires and insecurities by detaching itself from linear storytelling and easy rationales. Madeline’s growing self-awareness isn’t always easy to make sense of, from moment to moment, and cinematographer Ashley Connor often doesn’t seem to be capturing her actions and reactions so much as her brainwaves. That’s OK. The film tracks the inside of its heroine’s head more successfully than most.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Decker and her actors really were making up most of this film as they went along, the way it sometimes feels, it speaks to the fruitfulness of their collaboration that the finished work feels fresh and invigorating without wasting our time. And anyway, there’s at least one perfectly planned setpiece: The final sequence is a thrilling bit of mask-play and interpretative dance that doesn’t have to be anything except what it is. It casts us into full make-believe alongside Madeline, who’s fielding her latest acting cues from her own demons, and seems to finally find a home where they can all live in harmony.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the first things actors learn is how to become highly suggestible: Take a cue from a director, a script, a parent, a memory or a dream, and use it to become someone else. Acting classes instruct on the fine art of removing that layer of yourself that says, “No, I shouldn’t do this, it isn’t me.” Fail to break down those walls, and you aren’t much of a performer; knock too many down, and you may lose yourself. \u003c/p>\n\u003cp>\u003cem>Madeline’s Madeline\u003c/em>, the third feature from writer-director Josephine Decker, follows a teenaged girl in one of these acting classes. But the film is also teaching us what it means to be a performer who is not yet a fully realized person — someone trying to learn suggestibility and independence at the same time. Those with knowledge of these spaces will find instant recognition in the empty stage’s unreality — a place where anyone can scream out a suggestion, and force everyone else to fall in line. \u003c/p>\n\u003cp>In this world, despite her youth, Madeline is the star pupil: a gifted actor, particularly when she gets to inhabit nonhuman roles like cats and turtles. But the trouble starts when she has to play herself, and that unreality doesn’t stay safely on the stage. Madeline has mental illness, and may or may not have had some psychotic episodes in her past, with her emotional triggers almost always delivered by her needy, quivering mother. Her acting teacher starts picking up on some of this unresolved tension, and ropes Madeline’s mother into the troupe’s upcoming experimental performance, determined to unlock the reservoirs of rage and uncertainty that lie underneath this girl’s scrawny, frizzy-haired frame.\u003c/p>\n\u003cp>The film is anchored at every turn by newcomer Helena Howard’s big, brash and brilliant lead performance. Born out of improv exercises between Howard and Decker, Madeline is front-and-center of every frame, both assured and volatile, quick to lash out and yet also easily manipulated. Her showdowns with her mother (played with brittle unease by Miranda July, the last person on Earth you’d expect to see as a humorless working mom) are stacked with unresolved tension; early on, Madeline sprints into her mom’s car straight from a theater game, ducking her head down and yelling at her mom to drive. It’s an invite of sorts to play along, but mom takes things way too seriously, panicking that someone is really after them, and you get a perfect feel for how stifling life in that household must be for someone of Madeline’s talents and temperament. \u003c/p>\n\u003cp>This tension manifests itself in violent dreams, or at least you hope they’re only dreams. Madeline discloses one, where she takes an iron to her mom’s hand, to her beloved instructor Evangeline (Molly Parker). But actors are not psychologists, and so when Evangeline looks at this private moment she sees only an opportunity to improve her art, consequences be damned. Suddenly the entire production recenters around Madeline’s relationship with her mother, and the other actors start wearing her floral sweaters and imitating her motions. What is performance, and what is just … well, unhealthy? How about when Madeline, whose black father remains unseen, goes to dinner at Evangeline’s house and discovers her instructor has a black husband, and what that might mean about her own lofty perch in the class? There’s nothing like running away from one adult who’s trying to shape you, only to find yourself being used by another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that \u003cem>Madeline’s Madeline\u003c/em> comes out of a very precise, self-sustaining corner of the indie film world (Decker has been in Joe Swanberg’s circle of collaborators for years, and co-lead July is one of our most prized hipster auteurs), there’s a temptation to write it off as unserious, something meant only to speak to a small orbit of those in the know. But that would be a mistake. Like Decker’s earlier two works \u003cem>Butter on the Latch\u003c/em> and \u003cem>Thou Wast Mild and Lovely\u003c/em>, the film finds new ways of exploring female desires and insecurities by detaching itself from linear storytelling and easy rationales. Madeline’s growing self-awareness isn’t always easy to make sense of, from moment to moment, and cinematographer Ashley Connor often doesn’t seem to be capturing her actions and reactions so much as her brainwaves. That’s OK. The film tracks the inside of its heroine’s head more successfully than most.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Decker and her actors really were making up most of this film as they went along, the way it sometimes feels, it speaks to the fruitfulness of their collaboration that the finished work feels fresh and invigorating without wasting our time. And anyway, there’s at least one perfectly planned setpiece: The final sequence is a thrilling bit of mask-play and interpretative dance that doesn’t have to be anything except what it is. It casts us into full make-believe alongside Madeline, who’s fielding her latest acting cues from her own demons, and seems to finally find a home where they can all live in harmony.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I’ll be your mirror,” intoned Nico in 1966, singing one of the many tunes given her by a lover. In retrospect, the line neatly captures the model-actress-singer’s ’60s persona: a thin, icily beautiful, dyed-blonde blankness, to be defined by Federico Fellini and Andy Warhol, Lou Reed (who wrote “I’ll Be Your Mirror”) and Bob Dylan. \u003c/p>\n\u003cp>By 1986, when \u003cem>Nico, 1988\u003c/em> opens, the singer has banished all that: she’s become brunette, and cantankerous, and she’s gained some weight. She still sings under the name Nico, but her performances are staged mostly to subsidize her true vocation, heroin user. And she insists that acquaintances use her real name, Christa. \u003c/p>\n\u003cp>https://youtu.be/AWvUNABT8sg\u003c/p>\n\u003cp>Italian writer-director Susanna Nicchiarelli’s scrappy biopic is billed as a somewhat fictionalized “true story.” The script jibes with some accounts of the singer’s final years, and any unreliability is partly the responsibility of its subject, who often lied about her life. \u003c/p>\n\u003cp>The truth of the film, though, is mostly in Trine Dyrholm’s performance. The Danish actress (best known for \u003cem>The Commune\u003c/em>) plays Nico as perplexing and intriguing, ethereal yet earthy. She manages to make the viewer understand why some people wanted to be around the singer, even though she was demanding, exasperating and untrustworthy—in short, a junkie. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dyrholm handles the vocals, persuasively singing several of Nico’s compositions: slo-mo dirges that combined Germanic hymns, French chansons, and the minor-key epics of the Doors (Jim Morrison was another of Nico’s lovers) and the Velvet Underground. Dyrholm also handles a few of the more tuneful numbers Nico recorded, including Jackson Browne’s “These Days” (him, too) and “My Funny Valentine.” \u003c/p>\n\u003cp>The story is book-ended by incidents from the beginning and end of Nico’s life. In the first, a little girl watches beautiful light in the distance, which her mother explains that Berlin is ablaze. In the second, Nico tells her son that she’s going on a bike ride. She won’t return. \u003c/p>\n\u003cp>In between, Nico lives in grim Manchester and undertakes tours arranged by her manager, Richard (John Gordon Sinclair, all grown up 35 years after \u003cem>Gregory’s Girl\u003c/em>). The singer and a ragged band visit Italy and wiggle past the Iron Curtain, notably for an illegal show in Prague. The musicians slink through the dark, and cinematographer Crystel Fournier films them as if she’d time-traveled through a portal to the last days of the Warsaw Pact. \u003c/p>\n\u003cp>The movie’s Nico focuses mostly on self-preservation. She doesn’t give much thought to anyone else, save her teenage addict son, Ari (Sandor Funtek). The child of actor Alain Delon, who never acknowledged him, Ari has ended up in an asylum. Nico wants to get him released and take him on tour, which turns out not to be such a good idea. \u003c/p>\n\u003cp>\u003cem>Nico, 1988\u003c/em> includes a few clips of low-def archival film from the ’60s, glimpses of the young woman’s glamorous persona and famous associates. Aside from those inserts, Nicchiarelli focuses tightly on her subject and the few people around her, the better to emphasize Nico’s isolation and self-absorption. The director jettisons the larger context and several interesting figures important to the singer’s 1986-88 period. \u003c/p>\n\u003cp>The most curious omission is keyboardist James Young, who not only performed with Nico for most of the ’80s but also wrote a very funny memoir about his experiences, published in the U.S. as \u003cem>Nico: The End\u003c/em>. Young’s outlook is very different from Nicchiarelli’s, and the director’s response was to excise him utterly: In her telling, Nico’s band doesn’t even have a keyboard player. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps Young’s book will someday be the source for a different sort of Nico biopic. For now, the story belongs to Nicchiarelli and especially Dyrholm. Later, Nico can be some other canny filmmakers’ mirror. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dyrholm handles the vocals, persuasively singing several of Nico’s compositions: slo-mo dirges that combined Germanic hymns, French chansons, and the minor-key epics of the Doors (Jim Morrison was another of Nico’s lovers) and the Velvet Underground. Dyrholm also handles a few of the more tuneful numbers Nico recorded, including Jackson Browne’s “These Days” (him, too) and “My Funny Valentine.” \u003c/p>\n\u003cp>The story is book-ended by incidents from the beginning and end of Nico’s life. In the first, a little girl watches beautiful light in the distance, which her mother explains that Berlin is ablaze. In the second, Nico tells her son that she’s going on a bike ride. She won’t return. \u003c/p>\n\u003cp>In between, Nico lives in grim Manchester and undertakes tours arranged by her manager, Richard (John Gordon Sinclair, all grown up 35 years after \u003cem>Gregory’s Girl\u003c/em>). The singer and a ragged band visit Italy and wiggle past the Iron Curtain, notably for an illegal show in Prague. The musicians slink through the dark, and cinematographer Crystel Fournier films them as if she’d time-traveled through a portal to the last days of the Warsaw Pact. \u003c/p>\n\u003cp>The movie’s Nico focuses mostly on self-preservation. She doesn’t give much thought to anyone else, save her teenage addict son, Ari (Sandor Funtek). The child of actor Alain Delon, who never acknowledged him, Ari has ended up in an asylum. Nico wants to get him released and take him on tour, which turns out not to be such a good idea. \u003c/p>\n\u003cp>\u003cem>Nico, 1988\u003c/em> includes a few clips of low-def archival film from the ’60s, glimpses of the young woman’s glamorous persona and famous associates. Aside from those inserts, Nicchiarelli focuses tightly on her subject and the few people around her, the better to emphasize Nico’s isolation and self-absorption. The director jettisons the larger context and several interesting figures important to the singer’s 1986-88 period. \u003c/p>\n\u003cp>The most curious omission is keyboardist James Young, who not only performed with Nico for most of the ’80s but also wrote a very funny memoir about his experiences, published in the U.S. as \u003cem>Nico: The End\u003c/em>. Young’s outlook is very different from Nicchiarelli’s, and the director’s response was to excise him utterly: In her telling, Nico’s band doesn’t even have a keyboard player. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps Young’s book will someday be the source for a different sort of Nico biopic. For now, the story belongs to Nicchiarelli and especially Dyrholm. Later, Nico can be some other canny filmmakers’ mirror. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Brady Bunch' House Winner Revealed: HGTV Outbid Lance Bass",
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"content": "\u003cp>HGTV is the winning bidder for the Studio City, Calif., house featured in the sitcom \u003cem>The Brady Bunch\u003c/em>, with the cable network’s parent company promising to “restore the home to its 1970s glory.”\u003c/p>\n\u003cp>The CEO of Discovery Inc., which recently completed acquisition of HGTV, announced the news on a corporate earnings call.\u003c/p>\n\u003cp>“One of our projects for HGTV will speak to those Brady Bunch fans on the call,” David Zaslav said, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-house-hgtv-20180807-story.html\">The Los Angeles Times.\u003c/a>\u003c/p>\n\u003cp>“You may have heard that the house from the iconic series was recently on the market in California. I’m excited to share that HGTV is the winning bidder and will restore the Brady Bunch home to its 1970s glory as only HGTV can,” he said. “More detail to come over the next few months, but we’ll bring all the resources to bear to tell safe, fun stories about this beloved piece of American TV history.”\u003c/p>\n\u003cp>The purchase price was not immediately available, but it had been listed at $1.85 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The home and garden network reportedly beat out a handful of other interested parties, including Lance Bass, the former ‘N Sync member. Bass announced excitedly on Twitter last week that he had the winning bid, only to be told later by an agent representing the estate that “another corporate buyer” wanted the house “at any cost.”\u003c/p>\n\u003cp>https://twitter.com/LanceBass/status/1025971593397166081\u003c/p>\n\u003cp>“While we appreciate Mr. Bass and his interest in the Dilling Street property, tremendous interest in the house required a sealed, best and final bid,” said a spokesman for Douglas Elliman, the agency selling the property, according to \u003ca href=\"https://www.marketwatch.com/story/lance-bass-lost-a-bidding-war-on-the-brady-bunch-househow-home-buyers-can-avoid-a-similar-fate-2018-08-07\">MarketWatch.\u003c/a> “Our fiduciary obligation is to the seller, who decided to go with the highest, most qualified bid. We wish Mr. Bass the best of luck in future real-estate endeavors.”\u003c/p>\n\u003cp>Douglas Elliman listing agent Ernie Carswell told the \u003cem>Times\u003c/em> on Saturday “that the sale to Bass was not a done deal and that the seller had not made a final decision at the time,” according to the newspaper.\u003c/p>\n\u003cp>After initially chaffing at the reversal, Bass seemed content in defeat, tweeting, “HGTV??! Aw man. I’d be pretty upset if it were anyone else, but how can you be mad at HGTV?? My television is stuck on that channel. Kudos HGTV, I know you will do the right thing with the house. That was always my biggest worry. I can smile again.”\u003c/p>\n\u003cp>As MarketWatch notes, “The chances of making a winning bid are lower when the buyer is competing against someone making an all-cash offer, as was the case for Bass.”\u003c/p>\n\u003cp>In July, the nearly 2,500-square foot house, which sits on a 12,500-square-foot lot, went on the market for the first time in 50 years. It previously sold in 1973 — a year before \u003cem>The Brady Bunch\u003c/em> series wrapped — for $61,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2018/07/19/630482147/expect-a-bunch-of-attention-for-this-house-listing\">we wrote last month,\u003c/a> “Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brady+Bunch%27+House+Winner+Revealed%3A+HGTV+Outbid+Lance+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>HGTV is the winning bidder for the Studio City, Calif., house featured in the sitcom \u003cem>The Brady Bunch\u003c/em>, with the cable network’s parent company promising to “restore the home to its 1970s glory.”\u003c/p>\n\u003cp>The CEO of Discovery Inc., which recently completed acquisition of HGTV, announced the news on a corporate earnings call.\u003c/p>\n\u003cp>“One of our projects for HGTV will speak to those Brady Bunch fans on the call,” David Zaslav said, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-house-hgtv-20180807-story.html\">The Los Angeles Times.\u003c/a>\u003c/p>\n\u003cp>“You may have heard that the house from the iconic series was recently on the market in California. I’m excited to share that HGTV is the winning bidder and will restore the Brady Bunch home to its 1970s glory as only HGTV can,” he said. “More detail to come over the next few months, but we’ll bring all the resources to bear to tell safe, fun stories about this beloved piece of American TV history.”\u003c/p>\n\u003cp>The purchase price was not immediately available, but it had been listed at $1.85 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“While we appreciate Mr. Bass and his interest in the Dilling Street property, tremendous interest in the house required a sealed, best and final bid,” said a spokesman for Douglas Elliman, the agency selling the property, according to \u003ca href=\"https://www.marketwatch.com/story/lance-bass-lost-a-bidding-war-on-the-brady-bunch-househow-home-buyers-can-avoid-a-similar-fate-2018-08-07\">MarketWatch.\u003c/a> “Our fiduciary obligation is to the seller, who decided to go with the highest, most qualified bid. We wish Mr. Bass the best of luck in future real-estate endeavors.”\u003c/p>\n\u003cp>Douglas Elliman listing agent Ernie Carswell told the \u003cem>Times\u003c/em> on Saturday “that the sale to Bass was not a done deal and that the seller had not made a final decision at the time,” according to the newspaper.\u003c/p>\n\u003cp>After initially chaffing at the reversal, Bass seemed content in defeat, tweeting, “HGTV??! Aw man. I’d be pretty upset if it were anyone else, but how can you be mad at HGTV?? My television is stuck on that channel. Kudos HGTV, I know you will do the right thing with the house. That was always my biggest worry. I can smile again.”\u003c/p>\n\u003cp>As MarketWatch notes, “The chances of making a winning bid are lower when the buyer is competing against someone making an all-cash offer, as was the case for Bass.”\u003c/p>\n\u003cp>In July, the nearly 2,500-square foot house, which sits on a 12,500-square-foot lot, went on the market for the first time in 50 years. It previously sold in 1973 — a year before \u003cem>The Brady Bunch\u003c/em> series wrapped — for $61,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2018/07/19/630482147/expect-a-bunch-of-attention-for-this-house-listing\">we wrote last month,\u003c/a> “Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brady+Bunch%27+House+Winner+Revealed%3A+HGTV+Outbid+Lance+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Jackson Pollock Painting Gets A Touch-Up — And The Public's Invited To Watch",
"headTitle": "A Jackson Pollock Painting Gets A Touch-Up — And The Public’s Invited To Watch | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/634309516/635908005\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Jackson Pollock’s painting \u003cem>Number 1, 1949, \u003c/em>is a swirl of multi-colored, spaghettied paint, dripped, flung and slung across a 5-by-8-foot canvas. It’s a textured work — including nails and a bee (we’ll get to that later) — and in the nearly 70 years since its creation, it’s attracted a fair bit of dust, dirt and grime.\u003c/p>\n\u003cp>That’s where conservator Chris Stavroudis comes in: His job is to clean the painting using swabs, solvents, and tiny brushes. For the last several months, he’s been hard at work, once a week, \u003ca href=\"https://www.moca.org/exhibition/jackson-pollocks-number-1-1949-a-conservation-treatment\">in full view of the public\u003c/a>, in a gallery at The Museum of Contemporary Art, Los Angeles.\u003c/p>\n\u003cp>Pollock used all sorts of paints — oil paint, house paint, car paint, radiator paint — and they all aged and got dirty in different ways. Working with the Getty Conservation Institute, Stavroudis did tests to see what kind of cleaning was needed.\u003c/p>\n\u003cp>Stavroudis suspects the bee was unintentional (it probably just flew into the wet canvas as Pollock painted), but the nails weren’t. Pollock added them for texture. Art conservation is as much detective work as aesthetic exercise — and a nail that fell out of the painting gave clues to Pollock’s thinking. In the tiny indentation where a nail had been, Stavroudis saw a hairline of bright orange, under many dribbles of white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everyone always thinks of him as just slopping paint around,” Stavroudis says, “but he looked at it, decided the orange was too bright, and took it down.”\u003c/p>\n\u003cp>Some high school students watch Stavroudis wield his swabs — they have to make their own Pollocks for school, and want to know how he painted.\u003c/p>\n\u003cp>“The canvas was put on the floor and dribbled on,” Stavroudis explains. “He used sticks and dipped them into house paint, enamel paint, and then dribbled the paint off the stick and onto the canvas.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anna Katz in Conversation with Chris Stavroudis\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uoFhYcqZk1Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Rather than the floor, Stavroudis has mounted the painting on a vertical track attached to the wall. He can slide it up and down to get to different sections. This is the first time any conservation work has been done on \u003cem>Number 1, 1949,\u003c/em> and because it’s a 20th century work, it’s harder to conserve than, say, a Rembrandt.\u003c/p>\n\u003cp>“People have been working on oil paintings, traditional paintings, for a long time,” Stavroudis says.\u003c/p>\n\u003cp>So there’s lots of accumulated information. With new, 20th century materials, however, there’s much less conservation scholarship; they’re still in the process of learning what happens when the swab meets the paint.\u003c/p>\n\u003cp>When I checked in with Stavroudis the other day to see how it was going he said he recently learned about yet another material Pollock had used — tempera — what children use for finger painting.\u003c/p>\n\u003cp>It’s just one more challenge on Stavroudis’ sixth-month quest to restore Pollock’s work to its original condition, dead bee and all.\u003c/p>\n\u003cp>“I’m nearly finished,” he says. “I have to kind of slow down a little bit because I don’t want to run out of painting to clean before the exhibition ends.” But, he says, he’s “right on schedule” to complete his work by the time the museum closes the exhibition on September 3.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By then, Stavroudis will have spent more time working on the painting than Pollock did — “by an order of magnitude.”\u003c/p>\n\u003cfigure id=\"attachment_13838391\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838391 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1020x491.jpg\" alt=\"Stavroudis says he's "right on schedule" to finish his work by the end of the exhibition on September 3.\" width=\"640\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1020x491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-768x370.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1200x577.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1920x924.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1180x568.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-960x462.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-240x115.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-375x180.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-520x250.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Stavroudis says he’s “right on schedule” to finish his work by the end of the exhibition on September 3. \u003ccite>(Brian Forrest/The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Jackson+Pollock+Painting+Gets+A+Touch-Up+%E2%80%94+And+The+Public%27s+Invited+To+Watch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/634309516/635908005\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Jackson Pollock’s painting \u003cem>Number 1, 1949, \u003c/em>is a swirl of multi-colored, spaghettied paint, dripped, flung and slung across a 5-by-8-foot canvas. It’s a textured work — including nails and a bee (we’ll get to that later) — and in the nearly 70 years since its creation, it’s attracted a fair bit of dust, dirt and grime.\u003c/p>\n\u003cp>That’s where conservator Chris Stavroudis comes in: His job is to clean the painting using swabs, solvents, and tiny brushes. For the last several months, he’s been hard at work, once a week, \u003ca href=\"https://www.moca.org/exhibition/jackson-pollocks-number-1-1949-a-conservation-treatment\">in full view of the public\u003c/a>, in a gallery at The Museum of Contemporary Art, Los Angeles.\u003c/p>\n\u003cp>Pollock used all sorts of paints — oil paint, house paint, car paint, radiator paint — and they all aged and got dirty in different ways. Working with the Getty Conservation Institute, Stavroudis did tests to see what kind of cleaning was needed.\u003c/p>\n\u003cp>Stavroudis suspects the bee was unintentional (it probably just flew into the wet canvas as Pollock painted), but the nails weren’t. Pollock added them for texture. Art conservation is as much detective work as aesthetic exercise — and a nail that fell out of the painting gave clues to Pollock’s thinking. In the tiny indentation where a nail had been, Stavroudis saw a hairline of bright orange, under many dribbles of white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone always thinks of him as just slopping paint around,” Stavroudis says, “but he looked at it, decided the orange was too bright, and took it down.”\u003c/p>\n\u003cp>Some high school students watch Stavroudis wield his swabs — they have to make their own Pollocks for school, and want to know how he painted.\u003c/p>\n\u003cp>“The canvas was put on the floor and dribbled on,” Stavroudis explains. “He used sticks and dipped them into house paint, enamel paint, and then dribbled the paint off the stick and onto the canvas.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anna Katz in Conversation with Chris Stavroudis\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uoFhYcqZk1Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Rather than the floor, Stavroudis has mounted the painting on a vertical track attached to the wall. He can slide it up and down to get to different sections. This is the first time any conservation work has been done on \u003cem>Number 1, 1949,\u003c/em> and because it’s a 20th century work, it’s harder to conserve than, say, a Rembrandt.\u003c/p>\n\u003cp>“People have been working on oil paintings, traditional paintings, for a long time,” Stavroudis says.\u003c/p>\n\u003cp>So there’s lots of accumulated information. With new, 20th century materials, however, there’s much less conservation scholarship; they’re still in the process of learning what happens when the swab meets the paint.\u003c/p>\n\u003cp>When I checked in with Stavroudis the other day to see how it was going he said he recently learned about yet another material Pollock had used — tempera — what children use for finger painting.\u003c/p>\n\u003cp>It’s just one more challenge on Stavroudis’ sixth-month quest to restore Pollock’s work to its original condition, dead bee and all.\u003c/p>\n\u003cp>“I’m nearly finished,” he says. “I have to kind of slow down a little bit because I don’t want to run out of painting to clean before the exhibition ends.” But, he says, he’s “right on schedule” to complete his work by the time the museum closes the exhibition on September 3.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By then, Stavroudis will have spent more time working on the painting than Pollock did — “by an order of magnitude.”\u003c/p>\n\u003cfigure id=\"attachment_13838391\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838391 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1020x491.jpg\" alt=\"Stavroudis says he's "right on schedule" to finish his work by the end of the exhibition on September 3.\" width=\"640\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1020x491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-768x370.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1200x577.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1920x924.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-1180x568.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-960x462.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-240x115.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-375x180.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101-520x250.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/pollock-install-10_enl-9425f40bb30e09ea24f348cfefbb31e572e6c101.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Stavroudis says he’s “right on schedule” to finish his work by the end of the exhibition on September 3. \u003ccite>(Brian Forrest/The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Jackson+Pollock+Painting+Gets+A+Touch-Up+%E2%80%94+And+The+Public%27s+Invited+To+Watch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cartoonist Thi Bui Weaves Together Personal And Political History",
"headTitle": "Cartoonist Thi Bui Weaves Together Personal And Political History | KQED",
"content": "\u003cp>Cartoonist \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener\">Thi Bui\u003c/a>‘s Eisner Award-nominated graphic memoir is called \u003ca href=\"https://www.kqed.org/forum/2010101861939/struggles-of-a-vietnamese-refugee-family-told-in-illustrated-memoir\" target=\"_blank\" rel=\"noopener\">\u003cem>The Best We Could Do\u003c/em>\u003c/a>; it’s the story of her family in the years before, during and after the Vietnam War. The Eisners — mainstream comics’ top award — are given out every year at San Diego Comic-Con, where Bui was one of this year’s featured guests.\u003c/p>\n\u003cp>Alone on stage for her spotlight panel at the convention, Bui invites audience members to come up and read passages from her novel. “There are several voices and I would like to not do them all,” she says. “I’m going to try to entertain you before I make you sad.” And her story is sad. Her parents lost nearly everything during the war, and ended up fleeing Vietnam in the late 1970s, when Bui was just a small child.\u003c/p>\n\u003cfigure id=\"attachment_13838190\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838190 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg\" alt=\"Thi Bui says telling her parents she was writing a book about their lives helped break the ice.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833.jpg 1664w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thi Bui says telling her parents she was writing a book about their lives helped break the ice. \u003ccite>(Gabe Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I meet up with Bui outside the San Diego Convention Center, as people in costumes rush to line up for more panels, and men ring bells on ice cream carts. She says the novel began with a grad school project. “I was a graduate student at NYU, deconstructing all of the bad representations of Vietnamese people in the Vietnam War in movies and pop culture and American scholarship, so it was a very academic grumpiness that I had at the beginning.”\u003c/p>\n\u003cp>[contextly_sidebar id=”yT7lEVAlqsuEmn7bLjt5grsxzvPiujUs”]\u003c/p>\n\u003cp>Bui wanted to do more with that research, to make it accessible to a wider audience. And she says graphic memoirs — like Art Spiegelman’s \u003cem>Maus\u003c/em>, about the Holocaust, and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, about growing up during Iran’s Islamic Revolution — inspired her. “I really wanted to do what they did,” she says, “weave the personal and the political and the historical to tell a story of the Vietnam War and all the things that caused it, in a way that I felt like I hadn’t seen before.”\u003c/p>\n\u003cblockquote>\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy … so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” — Thi Bui\u003c/p>\u003c/blockquote>\n\u003cp>So Bui interviewed the closest sources she had — her parents. She says telling them she was writing a book about their lives helped break the ice. “It’s really hard to sit your parents down and say ‘Tell me all about your painful history,’ but if you tell them, ‘I’m working on a book, could you help me with my school project,’ then they’ll oblige … your oblique Asian strategies!”\u003c/p>\n\u003cfigure id=\"attachment_13838188\" class=\"wp-caption alignright\" style=\"max-width: 901px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838188 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg\" alt=\"'The Best We Could Do,' by Thi Bui\" width=\"901\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg 901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-520x390.jpg 520w\" sizes=\"(max-width: 901px) 100vw, 901px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best We Could Do,’ by Thi Bui\u003c/figcaption>\u003c/figure>\n\u003cp>The book delves as much into her family’s history as it does Vietnam’s; traumatic things her parents had seen as children and young adults in the years before and during the war. Bui says she asked basic questions to get the connective tissue of her parents’ stories: “Was it hot, were you hungry, how did the sand feel on your feet after you lost your slippers in the boat?” These questions helped her parents recall rich details that Bui wove into the graphic novel. Details like the executions of political prisoners her father witnessed, how much money her mother got for selling her valuables, the dimensions of the boat her family took to flee Vietnam.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy, and I would often hear them at times when I wasn’t ready, so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” Bui says she struggled with those stories of war and trauma and hardship, that they cast a shadow over her life. Then she had a son, and that experience shifted the way she approached \u003cem>The Best We Could Do\u003c/em>. “I think that maybe if I had done it as not a parent, I might have been happy to just dwell in my trauma, but with a baby in hand, I was really concerned with not passing on that trauma myself, and so I needed to filter stuff out so I could pass on something cleaner.”\u003c/p>\n\u003cp>And part of that healing came from examining her identity as a child of survivors, and especially as a person who’d left the place she’d been born. “That identity is like being the child of two divorced parents who won’t talk to each other,” Bui says. “I really yearn for reconciliation between people on both sides of that civil war. It’s been my whole life, so understanding that your perspective is not the entire truth is an important stepping stone to getting there.”\u003c/p>\n\u003cp>For now, she’s reconciled her story with her parents’ — and she says hopes her book can provide a starting point for others to do the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Jolie Myers and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cartoonist+Thi+Bui+Weaves+Together+Personal+And+Political+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cartoonist \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener\">Thi Bui\u003c/a>‘s Eisner Award-nominated graphic memoir is called \u003ca href=\"https://www.kqed.org/forum/2010101861939/struggles-of-a-vietnamese-refugee-family-told-in-illustrated-memoir\" target=\"_blank\" rel=\"noopener\">\u003cem>The Best We Could Do\u003c/em>\u003c/a>; it’s the story of her family in the years before, during and after the Vietnam War. The Eisners — mainstream comics’ top award — are given out every year at San Diego Comic-Con, where Bui was one of this year’s featured guests.\u003c/p>\n\u003cp>Alone on stage for her spotlight panel at the convention, Bui invites audience members to come up and read passages from her novel. “There are several voices and I would like to not do them all,” she says. “I’m going to try to entertain you before I make you sad.” And her story is sad. Her parents lost nearly everything during the war, and ended up fleeing Vietnam in the late 1970s, when Bui was just a small child.\u003c/p>\n\u003cfigure id=\"attachment_13838190\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838190 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg\" alt=\"Thi Bui says telling her parents she was writing a book about their lives helped break the ice.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833.jpg 1664w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thi Bui says telling her parents she was writing a book about their lives helped break the ice. \u003ccite>(Gabe Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I meet up with Bui outside the San Diego Convention Center, as people in costumes rush to line up for more panels, and men ring bells on ice cream carts. She says the novel began with a grad school project. “I was a graduate student at NYU, deconstructing all of the bad representations of Vietnamese people in the Vietnam War in movies and pop culture and American scholarship, so it was a very academic grumpiness that I had at the beginning.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bui wanted to do more with that research, to make it accessible to a wider audience. And she says graphic memoirs — like Art Spiegelman’s \u003cem>Maus\u003c/em>, about the Holocaust, and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, about growing up during Iran’s Islamic Revolution — inspired her. “I really wanted to do what they did,” she says, “weave the personal and the political and the historical to tell a story of the Vietnam War and all the things that caused it, in a way that I felt like I hadn’t seen before.”\u003c/p>\n\u003cblockquote>\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy … so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” — Thi Bui\u003c/p>\u003c/blockquote>\n\u003cp>So Bui interviewed the closest sources she had — her parents. She says telling them she was writing a book about their lives helped break the ice. “It’s really hard to sit your parents down and say ‘Tell me all about your painful history,’ but if you tell them, ‘I’m working on a book, could you help me with my school project,’ then they’ll oblige … your oblique Asian strategies!”\u003c/p>\n\u003cfigure id=\"attachment_13838188\" class=\"wp-caption alignright\" style=\"max-width: 901px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838188 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg\" alt=\"'The Best We Could Do,' by Thi Bui\" width=\"901\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg 901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-520x390.jpg 520w\" sizes=\"(max-width: 901px) 100vw, 901px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best We Could Do,’ by Thi Bui\u003c/figcaption>\u003c/figure>\n\u003cp>The book delves as much into her family’s history as it does Vietnam’s; traumatic things her parents had seen as children and young adults in the years before and during the war. Bui says she asked basic questions to get the connective tissue of her parents’ stories: “Was it hot, were you hungry, how did the sand feel on your feet after you lost your slippers in the boat?” These questions helped her parents recall rich details that Bui wove into the graphic novel. Details like the executions of political prisoners her father witnessed, how much money her mother got for selling her valuables, the dimensions of the boat her family took to flee Vietnam.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy, and I would often hear them at times when I wasn’t ready, so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” Bui says she struggled with those stories of war and trauma and hardship, that they cast a shadow over her life. Then she had a son, and that experience shifted the way she approached \u003cem>The Best We Could Do\u003c/em>. “I think that maybe if I had done it as not a parent, I might have been happy to just dwell in my trauma, but with a baby in hand, I was really concerned with not passing on that trauma myself, and so I needed to filter stuff out so I could pass on something cleaner.”\u003c/p>\n\u003cp>And part of that healing came from examining her identity as a child of survivors, and especially as a person who’d left the place she’d been born. “That identity is like being the child of two divorced parents who won’t talk to each other,” Bui says. “I really yearn for reconciliation between people on both sides of that civil war. It’s been my whole life, so understanding that your perspective is not the entire truth is an important stepping stone to getting there.”\u003c/p>\n\u003cp>For now, she’s reconciled her story with her parents’ — and she says hopes her book can provide a starting point for others to do the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Jolie Myers and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cartoonist+Thi+Bui+Weaves+Together+Personal+And+Political+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Look Back At Trayvon Martin's Death, And The Movement It Inspired",
"headTitle": "A Look Back At Trayvon Martin’s Death, And The Movement It Inspired | KQED",
"content": "\u003cp>Most of us remember the broad outlines of the story: 17-year-old Trayvon Martin was followed, shot and killed by neighborhood watchman George Zimmerman in Sanford, Fla., on the night of Feb. 26, 2012.\u003c/p>\n\u003cp>More than six weeks later, Zimmerman was arrested and, eventually, tried for second-degree murder in a case that would be as racially polarizing as the O.J. Simpson trial had been nearly 20 years earlier.\u003c/p>\n\u003cp>Filmmakers Julia Willoughby Nason and Jenner Furst (the duo also did \u003cem>Time: The Kalief Browder Story\u003c/em>) thought it was important to revisit Martin’s death, Zimmerman’s trial and the effect that Florida’s \u003ca href=\"https://www.npr.org/2013/01/02/167984117/-stand-your-ground-linked-to-increase-in-homicide\">Stand Your Ground\u003c/a> law had on both. The result is a six-episode series, \u003cem>Rest in Power: The Trayvon Martin Story\u003c/em>, which airs on the Paramount Network through early September.\u003c/p>\n\u003cp>In the beginning, as the series shows, there was a lot of sympathy for Trayvon’s death. Even people like Donald Trump and (then) Fox News host Bill O’Reilly thought the loss of the 17 year-old was, in Trump’s words, “terrible.”\u003c/p>\n\u003cp>Until Barack Obama, who often was famously reluctant to speak to the country on issues of race, decided to weigh in. “Obviously, this is a tragedy. I can only imagine what these parents are going through,” Obama said in his trademark measured cadence. “And when I think about this boy, I think about my own kids.” Then, after speaking about the importance of letting the investigation run its course he said this: “You know, if I had a son, he’d look like Trayvon … ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>From victim to villain\u003c/strong>\u003c/p>\n\u003cp>The series tells how those few words turned George Zimmerman from a stalker-y adult into a victim, a person who was being (metaphorically speaking), beaten up by the most powerful man in the world. “Zimmerman is not being treated fairly,” O’Reilly said on Fox.\u003c/p>\n\u003cp>“Now, George Zimmerman was the victim of a president who was overreaching,” says director Jenner Furst.\u003c/p>\n\u003cp>Stories began to leak out: Trayvon had been skipping school. He’d been suspended for writing “WTF” on a hallway locker. Trace amounts of THC, the chemical that usually indicates marijuana, had been found in his system, according to a forensic report. Suddeny he wasn’t the sweet-faced 17-year-old with the impish sense of humor, he was a Bad Guy.\u003c/p>\n\u003cp>“Trayvon was the victim in this case,” his father, Tracy Martin, told NPR. “They tried to make him the villain in this case.”\u003c/p>\n\u003cp>And not just Trayvon. During the initial jury questioning, Tracy Martin and his ex-wife, Sybrina Fulton were criticized, too.\u003c/p>\n\u003cp>“Being a single parent with two boys of my own,” one potential juror said during questioning, “I don’t want to judge, but I just want to say this could have been prevented had he not been up here.”\u003c/p>\n\u003cp>As the trial went on, the atmosphere in Sanford became even more charged and polarized. White nationalists and the alt-right adopted Zimmerman’s cause, seeing in him a martyr being sacrificed on the altar of political correctness. Protestors for racial justice marched, and clashed with them. The scene bristled with satellite dishes, high on their stalks that took everything in like heavy-headed sunflowers.\u003c/p>\n\u003cp>\u003cstrong>The NRA and Stand Your Ground\u003c/strong>\u003c/p>\n\u003cp>Florida’s \u003ca href=\"https://www.npr.org/2012/03/20/149014228/a-history-of-stand-your-ground-law-in-florida\">Stand Your Ground\u003c/a> law is the character that’s unseen, but very much felt in this series. “I think that it’s very shocking to examine how a lobbying entity was able to rewrite the definition of murder in this country, and how Florida was used as a laboratory to explore these gun laws, which are now commonplace in America,” says director Jenner Furst.\u003c/p>\n\u003cp>The NRA declined to talk to him and co-director Julia Nason. The organization remains a strong supporter of Stand Your Ground laws and \u003ca href=\"https://www.theguardian.com/world/2012/may/02/nra-stand-your-ground-law\">said in 2012\u003c/a> that such legislation enables “lawful people to defend themselves, and deters would-be murderers, rapists and robbers.”\u003c/p>\n\u003cp>The filmmakers say George Zimmerman did not respond to requests for interviews. (The series details the threats he sent to the investigator hired by Furst and Nason to find him)\u003c/p>\n\u003cp>In the end, he was acquitted. The six female jurors found the state had not made a strong enough case to prove that Zimmerman had committed second-degree murder.\u003c/p>\n\u003cp>Tracy Martin and Sybrina Fulton were determined that some good would come from their son’s death. Shortly after the trial, they established the Trayvon Martin Foundation, which is dedicated to helping parents and families that have lost children to gun violence. They speak out frequently against Stand Your Ground laws.\u003c/p>\n\u003cp>The series links Martin’s death and the trial with the rise of the Black Lives Matter movement, which soon became a national force. When people push back and ask why all lives shouldn’t matter, Sabrina Fulton has a ready response: “It’s not taking away from anybody else’s life,” she says, “it’s just putting emphasis on black lives because black lives seem so … disposable.”\u003c/p>\n\u003cp>Fulton says she is heartened by the activists of all races who supported them during the trial and are still advocating for justice for others who don’t look like them. “We didn’t get into this situation with just African-Americans, and we’re not going to get out of this situation with just African-Americans,” she insists. “I think all races understand it’s not about civil rights, it’s about human rights.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work keeps them busy, Tracy Martin says, but they never forget what they’ve lost. “For many people it’s a story, but for us it’s our life. We relive the story every day,” he says. “Even though we can’t save our son, we want to save someone else’s son or daughter.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Look+Back+At+Trayvon+Martin%27s+Death%2C+And+The+Movement+It+Inspired&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us remember the broad outlines of the story: 17-year-old Trayvon Martin was followed, shot and killed by neighborhood watchman George Zimmerman in Sanford, Fla., on the night of Feb. 26, 2012.\u003c/p>\n\u003cp>More than six weeks later, Zimmerman was arrested and, eventually, tried for second-degree murder in a case that would be as racially polarizing as the O.J. Simpson trial had been nearly 20 years earlier.\u003c/p>\n\u003cp>Filmmakers Julia Willoughby Nason and Jenner Furst (the duo also did \u003cem>Time: The Kalief Browder Story\u003c/em>) thought it was important to revisit Martin’s death, Zimmerman’s trial and the effect that Florida’s \u003ca href=\"https://www.npr.org/2013/01/02/167984117/-stand-your-ground-linked-to-increase-in-homicide\">Stand Your Ground\u003c/a> law had on both. The result is a six-episode series, \u003cem>Rest in Power: The Trayvon Martin Story\u003c/em>, which airs on the Paramount Network through early September.\u003c/p>\n\u003cp>In the beginning, as the series shows, there was a lot of sympathy for Trayvon’s death. Even people like Donald Trump and (then) Fox News host Bill O’Reilly thought the loss of the 17 year-old was, in Trump’s words, “terrible.”\u003c/p>\n\u003cp>Until Barack Obama, who often was famously reluctant to speak to the country on issues of race, decided to weigh in. “Obviously, this is a tragedy. I can only imagine what these parents are going through,” Obama said in his trademark measured cadence. “And when I think about this boy, I think about my own kids.” Then, after speaking about the importance of letting the investigation run its course he said this: “You know, if I had a son, he’d look like Trayvon … ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>From victim to villain\u003c/strong>\u003c/p>\n\u003cp>The series tells how those few words turned George Zimmerman from a stalker-y adult into a victim, a person who was being (metaphorically speaking), beaten up by the most powerful man in the world. “Zimmerman is not being treated fairly,” O’Reilly said on Fox.\u003c/p>\n\u003cp>“Now, George Zimmerman was the victim of a president who was overreaching,” says director Jenner Furst.\u003c/p>\n\u003cp>Stories began to leak out: Trayvon had been skipping school. He’d been suspended for writing “WTF” on a hallway locker. Trace amounts of THC, the chemical that usually indicates marijuana, had been found in his system, according to a forensic report. Suddeny he wasn’t the sweet-faced 17-year-old with the impish sense of humor, he was a Bad Guy.\u003c/p>\n\u003cp>“Trayvon was the victim in this case,” his father, Tracy Martin, told NPR. “They tried to make him the villain in this case.”\u003c/p>\n\u003cp>And not just Trayvon. During the initial jury questioning, Tracy Martin and his ex-wife, Sybrina Fulton were criticized, too.\u003c/p>\n\u003cp>“Being a single parent with two boys of my own,” one potential juror said during questioning, “I don’t want to judge, but I just want to say this could have been prevented had he not been up here.”\u003c/p>\n\u003cp>As the trial went on, the atmosphere in Sanford became even more charged and polarized. White nationalists and the alt-right adopted Zimmerman’s cause, seeing in him a martyr being sacrificed on the altar of political correctness. Protestors for racial justice marched, and clashed with them. The scene bristled with satellite dishes, high on their stalks that took everything in like heavy-headed sunflowers.\u003c/p>\n\u003cp>\u003cstrong>The NRA and Stand Your Ground\u003c/strong>\u003c/p>\n\u003cp>Florida’s \u003ca href=\"https://www.npr.org/2012/03/20/149014228/a-history-of-stand-your-ground-law-in-florida\">Stand Your Ground\u003c/a> law is the character that’s unseen, but very much felt in this series. “I think that it’s very shocking to examine how a lobbying entity was able to rewrite the definition of murder in this country, and how Florida was used as a laboratory to explore these gun laws, which are now commonplace in America,” says director Jenner Furst.\u003c/p>\n\u003cp>The NRA declined to talk to him and co-director Julia Nason. The organization remains a strong supporter of Stand Your Ground laws and \u003ca href=\"https://www.theguardian.com/world/2012/may/02/nra-stand-your-ground-law\">said in 2012\u003c/a> that such legislation enables “lawful people to defend themselves, and deters would-be murderers, rapists and robbers.”\u003c/p>\n\u003cp>The filmmakers say George Zimmerman did not respond to requests for interviews. (The series details the threats he sent to the investigator hired by Furst and Nason to find him)\u003c/p>\n\u003cp>In the end, he was acquitted. The six female jurors found the state had not made a strong enough case to prove that Zimmerman had committed second-degree murder.\u003c/p>\n\u003cp>Tracy Martin and Sybrina Fulton were determined that some good would come from their son’s death. Shortly after the trial, they established the Trayvon Martin Foundation, which is dedicated to helping parents and families that have lost children to gun violence. They speak out frequently against Stand Your Ground laws.\u003c/p>\n\u003cp>The series links Martin’s death and the trial with the rise of the Black Lives Matter movement, which soon became a national force. When people push back and ask why all lives shouldn’t matter, Sabrina Fulton has a ready response: “It’s not taking away from anybody else’s life,” she says, “it’s just putting emphasis on black lives because black lives seem so … disposable.”\u003c/p>\n\u003cp>Fulton says she is heartened by the activists of all races who supported them during the trial and are still advocating for justice for others who don’t look like them. “We didn’t get into this situation with just African-Americans, and we’re not going to get out of this situation with just African-Americans,” she insists. “I think all races understand it’s not about civil rights, it’s about human rights.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work keeps them busy, Tracy Martin says, but they never forget what they’ve lost. “For many people it’s a story, but for us it’s our life. We relive the story every day,” he says. “Even though we can’t save our son, we want to save someone else’s son or daughter.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Look+Back+At+Trayvon+Martin%27s+Death%2C+And+The+Movement+It+Inspired&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/632769085/633366430\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Growing up as a child in Bogotá, \u003ca href=\"https://www.kqed.org/author/irojascontreras\" target=\"_blank\" rel=\"noopener\">Ingrid Rojas Contreras\u003c/a> was almost the victim of a terrible crime. Violence reigned in Colombia under drug lord Pablo Escobar — bombings, kidnappings and assassinations were commonplace. Contreras didn’t know it at the time, but her mother was receiving threatening phone calls detailing the routines of her daughters’ lives: “They got off the bus at this hour. We know what the bus route is. We know what they look like.”\u003c/p>\n\u003cp>Contreras and her sister weren’t kidnapped — and this story of what \u003cem>didn’t\u003c/em> happen has inspired her first novel, \u003cem>Fruit of the Drunken Tree. \u003c/em>This Colombian coming of age story — two stories, really\u003cem> — \u003c/em>tells the saga of sisters Chula and Cassandra, growing up in a gated community in Bogotá, and Petrona, a teenager from the city’s slums who comes to live with their family as a maid.\u003c/p>\n\u003cp>Contreras, a \u003ca href=\"https://www.kqed.org/arts/series/the-spine\" target=\"_blank\" rel=\"noopener\">regular contributor to KQED Arts\u003c/a>, spoke with NPR about \u003cem>Fruit of the Drunken Tree\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the real-life person Petrona is based on\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because [my mother] grew up in poverty she always wanted to help girls that she saw were stuck in their situations. She would bring them in and they would become part of our lives. One of these girls was a girl that the character Petrona is based on.\u003c/p>\n\u003cp>She was threatened into acting against our family … but she didn’t go through with it. And that act of incredible kindness and compassion is something that didn’t leave me for many years. And when I finally sat down to write I just kept returning to that story and I kept returning to my indebtedness for that act of kindness.\u003c/p>\n\u003cp>\u003cstrong>On what it was like to live in Colombia in the ’80s and ’90s\u003c/strong>\u003c/p>\n\u003cp>There was a duality in the country I think — it’s incredibly beautiful. We have an amazing array of weathers. We have hot climate … we have jungle, we have the coast and we have all these hilly, beautiful villages where there’s coffee plants everywhere. And yet … it was a time when violence was just a common part of our lives. We saw it on the television, and it happened to us, or it happened to people that we knew.\u003c/p>\n\u003cp>\u003cstrong>On the way violence seeps into the lives of children\u003c/strong>\u003c/p>\n\u003cp>[Cassandra] has this habit of sitting in front of the television and chewing the limbs of the Barbies. … They’re left with this box of Barbies that have decapitated limbs and … they interpret this as … they are working for the guerrillas. … These limbless Barbies are part of the war.\u003c/p>\n\u003cp>\u003cstrong>On the way Petrona was trapped\u003c/strong>\u003c/p>\n\u003cp>Petrona’s story is something that feels very urgent for me to make known. It’s this idea that not all people who joined the guerrillas or who join a violent group in Colombia are people who join wholeheartedly. So in Petrona’s case, she is someone who becomes trapped into it. She is someone who is placed in a family and can be instrumental to the guerrillas in carrying out a kidnapping, and so for that reason she is cornered and she’s taken into it — but she is not a willing participant.\u003c/p>\n\u003cp>\u003cstrong>On what happened to the real-life Petrona\u003c/strong>\u003c/p>\n\u003cp>I do know, but I do want to respect her privacy. I will say that she did suffer personal consequences for what she didn’t do. … I haven’t talked to her since it happened. She called my family a few months … after the event took place and she told my mother everything. She told my mother what she had gone through and we did everything that we could for her at the time.\u003c/p>\n\u003cp>\u003cstrong>On teaching writing to immigrant high school students in San Francisco\u003c/strong>\u003c/p>\n\u003cp>They’re all in between languages — just like I am — and I teach them how to tell stories. We write poems and they write about their experiences, their journeys and their family histories. … I just feel honored to be there with them and to be a person in their lives. … As a writer I just know that when we tell our stories and when immigrants tell their stories that it can be very healing and it can be very grounding and it can give you a sense of power and empowerment. … I love being able to facilitate their stories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Boyd and Viet Le produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Thwarted+Child+Kidnapping+Inspired+%27Fruit+Of+The+Drunken+Tree%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because [my mother] grew up in poverty she always wanted to help girls that she saw were stuck in their situations. She would bring them in and they would become part of our lives. One of these girls was a girl that the character Petrona is based on.\u003c/p>\n\u003cp>She was threatened into acting against our family … but she didn’t go through with it. And that act of incredible kindness and compassion is something that didn’t leave me for many years. And when I finally sat down to write I just kept returning to that story and I kept returning to my indebtedness for that act of kindness.\u003c/p>\n\u003cp>\u003cstrong>On what it was like to live in Colombia in the ’80s and ’90s\u003c/strong>\u003c/p>\n\u003cp>There was a duality in the country I think — it’s incredibly beautiful. We have an amazing array of weathers. We have hot climate … we have jungle, we have the coast and we have all these hilly, beautiful villages where there’s coffee plants everywhere. And yet … it was a time when violence was just a common part of our lives. We saw it on the television, and it happened to us, or it happened to people that we knew.\u003c/p>\n\u003cp>\u003cstrong>On the way violence seeps into the lives of children\u003c/strong>\u003c/p>\n\u003cp>[Cassandra] has this habit of sitting in front of the television and chewing the limbs of the Barbies. … They’re left with this box of Barbies that have decapitated limbs and … they interpret this as … they are working for the guerrillas. … These limbless Barbies are part of the war.\u003c/p>\n\u003cp>\u003cstrong>On the way Petrona was trapped\u003c/strong>\u003c/p>\n\u003cp>Petrona’s story is something that feels very urgent for me to make known. It’s this idea that not all people who joined the guerrillas or who join a violent group in Colombia are people who join wholeheartedly. So in Petrona’s case, she is someone who becomes trapped into it. She is someone who is placed in a family and can be instrumental to the guerrillas in carrying out a kidnapping, and so for that reason she is cornered and she’s taken into it — but she is not a willing participant.\u003c/p>\n\u003cp>\u003cstrong>On what happened to the real-life Petrona\u003c/strong>\u003c/p>\n\u003cp>I do know, but I do want to respect her privacy. I will say that she did suffer personal consequences for what she didn’t do. … I haven’t talked to her since it happened. She called my family a few months … after the event took place and she told my mother everything. She told my mother what she had gone through and we did everything that we could for her at the time.\u003c/p>\n\u003cp>\u003cstrong>On teaching writing to immigrant high school students in San Francisco\u003c/strong>\u003c/p>\n\u003cp>They’re all in between languages — just like I am — and I teach them how to tell stories. We write poems and they write about their experiences, their journeys and their family histories. … I just feel honored to be there with them and to be a person in their lives. … As a writer I just know that when we tell our stories and when immigrants tell their stories that it can be very healing and it can be very grounding and it can give you a sense of power and empowerment. … I love being able to facilitate their stories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Boyd and Viet Le produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Thwarted+Child+Kidnapping+Inspired+%27Fruit+Of+The+Drunken+Tree%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Riveting Documentary Sheds Light On 'Dark Money' In Montana Politics",
"headTitle": "Riveting Documentary Sheds Light On ‘Dark Money’ In Montana Politics | KQED",
"content": "\u003cp>Which is worse, corruption you can see or corruption you can’t? In \u003cem>Dark Money\u003c/em>, a documentary about invisible corporate shenanigans in her home state of Montana, director Kimberly Reed makes the incisive case that the latter threatens to sink our democracy outright.\u003c/p>\n\u003cp>If 98 movie minutes about the subversion of campaign financing isn’t quite your idea of beating the summer heat, let me start by saying there’s not a dull or dry moment in Reed’s briskly paced film about the secret assault on the American electoral and judicial process by corporations whose agenda is nothing less than the dismantling of government itself. \u003cem>Dark Money\u003c/em> tells a hair-raisingly specific American tale of illicit power. In other words, the stuff of thrillers since Hollywood time began—except that in \u003cem>this\u003c/em> muckraking expose, the graft was real. Mercifully, so was the pushback from a citizenry long-accustomed to corporate chicanery and led by a few savvy activists working very hard for free.\u003c/p>\n\u003cp>https://youtu.be/nVqnfZ9dPOw\u003c/p>\n\u003cp>\u003cem>Dark Money\u003c/em> opens and closes with a flock of geese flying over a toxic copper quarry. As Reed’s story unfolds, we learn that the beautiful birds’ mass demise is only a tiny fraction of the wreckage caused by shady money moguls tinkering with electoral campaigns over a hundred years of Montana history. In part because its elected officials are ordinary folks who often double-up as farmers, teachers and the like, Montana is also heavy on a defiant populism that cuts across party lines. Which may be why it’s also the only state, according to Reed, to have fought back locally against the U.S. Supreme Court’s 2010 rollback of laws preventing corporations and unions using their treasury funds for electioneering. \u003c/p>\n\u003cp>Skillfully fielding an enormous cast of witnesses and participants, Reed shows how Democrats and Republicans running for political and judicial office found themselves targeted by vicious attack ads from deep-pocketed non-profits with blandly vanilla names like Citizens United or Americans For Prosperity, or strategically crowd-pleasing monikers like Mothers Against Child Predators. No one had ever heard of these shape-shifting advocacy groups, and it was difficult to track the money back to the shadowy ideologues hiding behind them. With the ranks of the working press hamstrung by financial crisis, it fell to a shockingly small band of enterprising freelancers—helped by some highly compromising documents that turned up in a colorfully unlikely location—to uncover a trail of money and influence that led back to wealthy right-wing libertarians. (The Koch brothers come up a lot.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest is a gripping tale of self-help sleuthing topped off by the televised trial of Art Wittich, a local State Senator accused of being on the take. John Adams, a newly laid-off local reporter who will surely be played by Woody Harrelson in the event of a narrative remake of \u003cem>Dark Money\u003c/em>, founded his own dirt-digging website with help from colleagues and donations from an increasingly outraged public. Attorney Gene Jarussi came out of retirement to work pro bono on tracing the money trail connecting Republican State Senator Wittich to an anti-environmental outfit murkily titled American Tradition Partnership. But perhaps the real heroine is Sarah Arnold, a young Republican former staffer for ATP who, disgusted by her employer’s dirty tricks, agreed to testify at Wittich’s trial. Here’s hoping she has stayed safe since.\u003c/p>\n\u003cp>Without the indispensable \u003cem>Dark Money,\u003c/em> few of us would have heard of this David-and-Goliath struggle. Reed keeps the story mostly local while adroitly teasing out the broader threat of a lack of transparency that’s been kicking around American politics since way before Watergate. Her riveting film shows how, with the Internet’s global reach and the ever-growing concentration of money and power, dark money is redrawing the political landscape in ways that render parties irrelevant and imperil democracy itself. As one of the film’s talking heads points out, when the Supreme Court of the United States decrees that corporations have the same rights as individuals, and financial contributions count as free speech, it is time to take the fight for democracy local, as Montana did. The trick will be to keep it up — and \u003cem>Dark Money\u003c/em> shows what a long, hard grind that will be. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dark Money’ opens on Friday, July 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck Cinemas in Berkeley, Christopher B. Smith Rafael Film Center in San Rafael and 3 Below Theater and Lounge in San Jose.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Which is worse, corruption you can see or corruption you can’t? In \u003cem>Dark Money\u003c/em>, a documentary about invisible corporate shenanigans in her home state of Montana, director Kimberly Reed makes the incisive case that the latter threatens to sink our democracy outright.\u003c/p>\n\u003cp>If 98 movie minutes about the subversion of campaign financing isn’t quite your idea of beating the summer heat, let me start by saying there’s not a dull or dry moment in Reed’s briskly paced film about the secret assault on the American electoral and judicial process by corporations whose agenda is nothing less than the dismantling of government itself. \u003cem>Dark Money\u003c/em> tells a hair-raisingly specific American tale of illicit power. In other words, the stuff of thrillers since Hollywood time began—except that in \u003cem>this\u003c/em> muckraking expose, the graft was real. Mercifully, so was the pushback from a citizenry long-accustomed to corporate chicanery and led by a few savvy activists working very hard for free.\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/nVqnfZ9dPOw'\n title='//www.youtube.com/embed/nVqnfZ9dPOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Dark Money\u003c/em> opens and closes with a flock of geese flying over a toxic copper quarry. As Reed’s story unfolds, we learn that the beautiful birds’ mass demise is only a tiny fraction of the wreckage caused by shady money moguls tinkering with electoral campaigns over a hundred years of Montana history. In part because its elected officials are ordinary folks who often double-up as farmers, teachers and the like, Montana is also heavy on a defiant populism that cuts across party lines. Which may be why it’s also the only state, according to Reed, to have fought back locally against the U.S. Supreme Court’s 2010 rollback of laws preventing corporations and unions using their treasury funds for electioneering. \u003c/p>\n\u003cp>Skillfully fielding an enormous cast of witnesses and participants, Reed shows how Democrats and Republicans running for political and judicial office found themselves targeted by vicious attack ads from deep-pocketed non-profits with blandly vanilla names like Citizens United or Americans For Prosperity, or strategically crowd-pleasing monikers like Mothers Against Child Predators. No one had ever heard of these shape-shifting advocacy groups, and it was difficult to track the money back to the shadowy ideologues hiding behind them. With the ranks of the working press hamstrung by financial crisis, it fell to a shockingly small band of enterprising freelancers—helped by some highly compromising documents that turned up in a colorfully unlikely location—to uncover a trail of money and influence that led back to wealthy right-wing libertarians. (The Koch brothers come up a lot.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest is a gripping tale of self-help sleuthing topped off by the televised trial of Art Wittich, a local State Senator accused of being on the take. John Adams, a newly laid-off local reporter who will surely be played by Woody Harrelson in the event of a narrative remake of \u003cem>Dark Money\u003c/em>, founded his own dirt-digging website with help from colleagues and donations from an increasingly outraged public. Attorney Gene Jarussi came out of retirement to work pro bono on tracing the money trail connecting Republican State Senator Wittich to an anti-environmental outfit murkily titled American Tradition Partnership. But perhaps the real heroine is Sarah Arnold, a young Republican former staffer for ATP who, disgusted by her employer’s dirty tricks, agreed to testify at Wittich’s trial. Here’s hoping she has stayed safe since.\u003c/p>\n\u003cp>Without the indispensable \u003cem>Dark Money,\u003c/em> few of us would have heard of this David-and-Goliath struggle. Reed keeps the story mostly local while adroitly teasing out the broader threat of a lack of transparency that’s been kicking around American politics since way before Watergate. Her riveting film shows how, with the Internet’s global reach and the ever-growing concentration of money and power, dark money is redrawing the political landscape in ways that render parties irrelevant and imperil democracy itself. As one of the film’s talking heads points out, when the Supreme Court of the United States decrees that corporations have the same rights as individuals, and financial contributions count as free speech, it is time to take the fight for democracy local, as Montana did. The trick will be to keep it up — and \u003cem>Dark Money\u003c/em> shows what a long, hard grind that will be. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dark Money’ opens on Friday, July 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck Cinemas in Berkeley, Christopher B. Smith Rafael Film Center in San Rafael and 3 Below Theater and Lounge in San Jose.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Kennedy Center annually recognizes artists who have had a uniquely wide and enduring impact on American culture. On Wednesday, the Washington, D.C. institution announced this year’s recipients of the Kennedy Center Honors: country singer \u003ca href=\"https://www.npr.org/2017/02/04/513315456/reba-mcentires-new-album-is-a-dedication-to-family-and-faith\">Reba McEntire\u003c/a>, jazz saxophonist and composer \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\">Wayne Shorter\u003c/a>, composer \u003ca href=\"https://www.npr.org/artists/15680178/philip-glass\">Philip Glass\u003c/a>, singer Cher, and the creative team behind the smash musical \u003ca href=\"https://www.npr.org/tags/475044603/hamilton\">\u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>This year’s awardees are a typically eclectic group of artists. McEntire has forty years of studio history behind her and a sitcom to boot. Along with being a progenitor of jazz fusion and a celebrated Miles Davis collaborator, Shorter is a sci-fi lover who \u003ca href=\"https://www.npr.org/2018/07/25/631999084/jazz-legend-wayne-shorter-announces-emanon-a-multiverse-inspired-triple-album\">writes comic books\u003c/a>. Glass is one of the most celebrated contemporary composers in the world, and is also a co-founder of Tibet House, a cultural institution that seeks to “ensure the survival of Tibetan civilization and culture.” Cher is, of course, an idiosyncratic and indelible pop totem (and gifted Twitter user). Her statement upon learning Wednesday’s news was typically offbeat: “When I was very young I saw \u003cem>Dumbo\u003c/em> and \u003cem>Cinderella\u003c/em> and knew then what I wanted to be and the path my life would take and here I am!”\u003c/p>\n\u003cp>The Kennedy Center is also celebrating the four-member team behind \u003cem>Hamilton\u003c/em>, one of this decade’s most striking artistic phenomenons: writer and actor \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\">Lin-Manuel Miranda\u003c/a>, director Thomas Kail, choreographer Andy Blankenbuehler and music director Alex Lacamoire. In its announcement, the Kennedy Center calls the musical “a transformative work that defies category.”\u003c/p>\n\u003cp>“Historically, the Kennedy Center Honors has celebrated lifetime achievement,” says the organization’s president\u003cstrong>,\u003c/strong> Deborah F. Rutter\u003cstrong>,\u003c/strong> in a statement. “In recognizing \u003cem>Hamilton\u003c/em> and its co-creators, the Kennedy Center is making an unprecedented statement about an unprecedented work — a work that transcends cultural boundaries and tells America’s story in a powerful and contemporary way.”\u003c/p>\n\u003cp>Notably, the central artistic vehicle in \u003cem>Hamilton\u003c/em>, rapping, is a medium only recently inducted into the Center’s honor rolls when, last year, LL Cool J became the \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541365592/ll-cool-j-to-become-kennedy-centers-first-hip-hop-honoree\">first hip-hop artist\u003c/a> bestowed a rainbowed medallion by the institution. In 2017, the Kennedy Center also named the rapper Q-Tip, of A Tribe Called Quest, as its \u003ca href=\"https://www.npr.org/2017/10/08/556546495/q-tips-new-kennedy-center-role-helps-institutionalize-hip-hop\">first\u003c/a> artistic director of hip-hop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, the White House reception that usually accompanies the Kennedy Center awards ceremony was suspended “to allow the honorees to celebrate without any political distraction,” White House press secretary Sarah Huckabee Sanders \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">explained\u003c/a> at the time. It was only the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">fourth time\u003c/a> in the awards’ 40-year history, the \u003ca href=\"https://www.nytimes.com/2017/08/19/us/politics/donald-and-melania-trump-to-skip-kennedy-center-honors.html\">\u003cem>New York\u003c/em> \u003cem>Times\u003c/em>\u003c/a> reported, that a sitting president had missed the event — and the first leader to do so \u003ca href=\"https://factba.se/topic/calendar\">without\u003c/a> pressing travel plans or a hostage crisis. Prior to the cancellation of last year’s White House reception, three of the five honorees — Norman Lear, Carmen de Lavallade and Lionel Richie — had announced they would not attend, or were considering forgoing\u003cstrong>,\u003c/strong> the traditional visit to 1600 Pennsylvania Ave.\u003c/p>\n\u003cp>Of this year’s honorees, three have made their opinion on President Trump plain. Lin-Manuel Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/914102927744217088\">said\u003c/a> he is “going straight to hell,” in response to a tweet President Trump sent about the mayor of San Juan, Puerto Rico. Sarcastically, Philip Glass \u003ca href=\"https://www.profil.at/kultur/philip-glass-donald-trump-8239536\">thanked \u003c/a>Trump in a 2017 interview with Austria’s \u003cem>Profil\u003c/em>, saying, “It’s wonderful … Even my children, who before were only immersed in video games, now attend demonstrations and engage politically. We should be grateful to Trump for shaking us.” Cher’s all-but-legendary Twitter account is consistent in nothing else if not \u003ca href=\"https://twitter.com/cher/status/1016407197247365121\">ire\u003c/a> for the president. McEntire has \u003ca href=\"https://pridesource.com/article/83932/\">maintained\u003c/a> that she does not talk politics — but denied, \u003ca href=\"https://www.etonline.com/media/videos/reba-mcentire-backstage-2018-grammy-awards-full-press-conference-95338\">backstage\u003c/a> at this year’s Grammy Awards, that her cover of “Back to God” was any pro-Trump signaling after the song was held up by Trump supporters as a signal of her support. Asked about her intentions in recording the 2008 song, and whether they had anything to do with the president, McEntire responded, incredulously: “Are you kidding?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s ceremony will take place Sunday\u003c/em>\u003cem>\u003cstrong>,\u003c/strong>\u003c/em>\u003cem> Dec. 2, 2018 and will be broadcast on CBS December 26 at 8 p.m. ET.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Names+Its+2018+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kennedy Center annually recognizes artists who have had a uniquely wide and enduring impact on American culture. On Wednesday, the Washington, D.C. institution announced this year’s recipients of the Kennedy Center Honors: country singer \u003ca href=\"https://www.npr.org/2017/02/04/513315456/reba-mcentires-new-album-is-a-dedication-to-family-and-faith\">Reba McEntire\u003c/a>, jazz saxophonist and composer \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\">Wayne Shorter\u003c/a>, composer \u003ca href=\"https://www.npr.org/artists/15680178/philip-glass\">Philip Glass\u003c/a>, singer Cher, and the creative team behind the smash musical \u003ca href=\"https://www.npr.org/tags/475044603/hamilton\">\u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>This year’s awardees are a typically eclectic group of artists. McEntire has forty years of studio history behind her and a sitcom to boot. Along with being a progenitor of jazz fusion and a celebrated Miles Davis collaborator, Shorter is a sci-fi lover who \u003ca href=\"https://www.npr.org/2018/07/25/631999084/jazz-legend-wayne-shorter-announces-emanon-a-multiverse-inspired-triple-album\">writes comic books\u003c/a>. Glass is one of the most celebrated contemporary composers in the world, and is also a co-founder of Tibet House, a cultural institution that seeks to “ensure the survival of Tibetan civilization and culture.” Cher is, of course, an idiosyncratic and indelible pop totem (and gifted Twitter user). Her statement upon learning Wednesday’s news was typically offbeat: “When I was very young I saw \u003cem>Dumbo\u003c/em> and \u003cem>Cinderella\u003c/em> and knew then what I wanted to be and the path my life would take and here I am!”\u003c/p>\n\u003cp>The Kennedy Center is also celebrating the four-member team behind \u003cem>Hamilton\u003c/em>, one of this decade’s most striking artistic phenomenons: writer and actor \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\">Lin-Manuel Miranda\u003c/a>, director Thomas Kail, choreographer Andy Blankenbuehler and music director Alex Lacamoire. In its announcement, the Kennedy Center calls the musical “a transformative work that defies category.”\u003c/p>\n\u003cp>“Historically, the Kennedy Center Honors has celebrated lifetime achievement,” says the organization’s president\u003cstrong>,\u003c/strong> Deborah F. Rutter\u003cstrong>,\u003c/strong> in a statement. “In recognizing \u003cem>Hamilton\u003c/em> and its co-creators, the Kennedy Center is making an unprecedented statement about an unprecedented work — a work that transcends cultural boundaries and tells America’s story in a powerful and contemporary way.”\u003c/p>\n\u003cp>Notably, the central artistic vehicle in \u003cem>Hamilton\u003c/em>, rapping, is a medium only recently inducted into the Center’s honor rolls when, last year, LL Cool J became the \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541365592/ll-cool-j-to-become-kennedy-centers-first-hip-hop-honoree\">first hip-hop artist\u003c/a> bestowed a rainbowed medallion by the institution. In 2017, the Kennedy Center also named the rapper Q-Tip, of A Tribe Called Quest, as its \u003ca href=\"https://www.npr.org/2017/10/08/556546495/q-tips-new-kennedy-center-role-helps-institutionalize-hip-hop\">first\u003c/a> artistic director of hip-hop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The earliest recording of \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a> singing has been unearthed after 55 years in… the bread basket of a former bandmate from one of his earliest projects, The Konrads, according to \u003ca href=\"https://www.theguardian.com/music/2018/jul/23/david-bowies-first-demo-track-discovered-in-old-bread-basket\">\u003cem>The Guardian.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.omegaauctions.co.uk/news-media/news/bowies-first-ever-recording-up-for-auction/\">press release\u003c/a> from Omega Auctions, Konrads drummer David Hadfield writes: “So this became the very first recording of David Jones (Bowie) singing 55 years ago! There is no other recording featuring David as lead in existence. Decca initially turned us down, but when they eventually gave us an auction later that year, vocalist Roger Ferris was the lead voice and David sang backing harmonies.” The recording is part of a group of memorabilia from Bowie’s early career that will include letters, photographs and “promotional sketches.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"BOWIE’S FIRST EVER STUDIO RECORDING UP FOR AUCTION\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hg7YwHa5Zas?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In \u003cem>David Bowie: I Was There\u003c/em>, a book of eyewitness accounts of Bowie encounters, the pop legend’s former bandmate Alan Dodds says of the band’s standing in June, 1963 — roughly a few months after the newly discovered demo was recorded — that Bowie, still David Jones at the time, was “the obvious choice” for a frontman. “He could command an audience instantly.” Dodds says he wrote the rejected single, “I Never Dreamed,” and that “Decca declined to offer us a contract and all we were left with was an acetate recording. We disbanded after about a year.” A \u003cem>Telegraph\u003c/em> article from 2016 refers to that recording, \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/12102471/David-Bowie-how-a-broken-pint-glass-in-a-Blackheath-pub-changed-the-course-of-music-history.html\">reporting that\u003c/a> “no copy appears to have survived.”\u003c/p>\n\u003cp>Listening to the short 12-second clip (while setting aside its extremely rough production), and taking into account the surfeit of pop-rock talent in the U.K. at the time, it’s not hard, frankly, to imagine why Decca passed on signing The Konrads. If only they could have seen through the pat pop-rock single, to what Bowie would eventually become.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Bowie%27s+First+Demo%2C+From+1963%2C+Found+In+Bread+Basket&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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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",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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