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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/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>\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"headTitle": "‘Generation Wealth’ Offers Scattershot Glimpses Of Cultural Decadence | KQED",
"content": "\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\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=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\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=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "American Baby Trump Blimp Set To Breeze Onto Namesake's Home Turf",
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"content": "\u003cp>Like any tantruming toddler, the 20-foot-tall baby Trump blimp hovering above Friday’s \u003ca href=\"https://www.npr.org/2018/07/13/628715766/large-protests-baby-blimp-greet-trump-in-london-and-the-u-k\">protests in London\u003c/a> was difficult to ignore.\u003c/p>\n\u003cp>Now a plan to bring a replica of the yellow-haired, phone-toting, sneering and diapered balloon stateside has garnered so much support that organizers say they will use the funds to buy multiple blimps “so we can go coast-to-coast, border-to-border.”\u003c/p>\n\u003cp>New Jersey activists Didier Jiminez-Castro and Jim Girvan said they “were inspired by the patriotic actions of our friends in the UK,” so they created a \u003ca href=\"https://www.gofundme.com/fund-to-bring-baby-trump-to-america\">GoFundMe page\u003c/a> to see if they could make a similar statement domestically.\u003c/p>\n\u003cp>They overshot their goal.\u003c/p>\n\u003cp>By Thursday, they had raised $23,693 of their $4,500 aim and closed the page to donations in order “to keep control” of the campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They expect the first balloon to be ready by mid-August and they plan to fly it near the president’s National Golf Club in Bedminster, N.J.\u003c/p>\n\u003cp>Girvan, an organizer of The People’s Motorcade, \u003ca href=\"https://www.cnn.com/2018/07/17/politics/trump-baby-blimp-new-jersey-trnd/index.html\">told CNN\u003c/a> his group holds frequent protests outside the club.\u003c/p>\n\u003cp>“We’re comfortable that we’re going to have the opportunity to fly the balloon in relatively close proximity to his golf club while he’s here,” Girvan told the news outlet.\u003c/p>\n\u003cp>Under the social media handle @babytrumptour, Jiminez-Castro and Girvan say the goal is to branch out and “to make Baby Trump available to various locations around the country.”\u003c/p>\n\u003cp>They said they are working closely with the creators of the original Trump blimp “to use their design and not a knock off.”\u003c/p>\n\u003cp>CNN reports the New Jersey activists have received permission to make their own balloons using the original patterns and molds.\u003c/p>\n\u003cp>The hope is it will elevate their protests in more ways than one.\u003c/p>\n\u003cp>“The baby Trump is not just a piece of humor, but it is also a symbol of the administration,” \u003ca href=\"https://www.nj.com/news/index.ssf/2018/07/baby_trump_balloon_is_coming_to_new_jersey.html?utm_medium=social&utm_source=twitter&utm_campaign=njdotcom_sf&utm_content=nj_twitter_njdotcom\">Jiminez-Castro told N.J.com\u003c/a>. “It’s symbolic of the children that are in cages, it’s a symbol of racism, and we know that he hates to be ridiculed.”\u003c/p>\n\u003cp>The original blimp flew the same day the actual Trump met with Prime Minister Theresa May at Chequers, about 40 miles outside London, followed by tea with Queen Elizabeth at Windsor Castle.\u003c/p>\n\u003cp>In an interview, he acknowledged he knew about the blimp imitation and was not flattered.\u003c/p>\n\u003cp>“I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London,” \u003ca href=\"https://www.thesun.co.uk/news/6766644/donald-trump-feels-unwelcome-london-protests/\">Trump told British newspaper the Sun\u003c/a>.\u003c/p>\n\u003cp>He spent a single night in London during his four-day U.K. trip.\u003c/p>\n\u003cp>Meantime, another apparent opponent of the Trump baby blimp had plans to pop the offending item.\u003c/p>\n\u003cp>Kathie Kitt Conklin of New Jersey started her own GoFundMe page, this one asking for donations, should she be arrested for deflating the balloon and need to be bailed out, \u003ca href=\"https://www.app.com/story/news/weird/2018/07/19/ocean-county-woman-vows-pop-trump-baby-balloon/799786002/\">reports the Asbury Park Press\u003c/a>.\u003c/p>\n\u003cp>“I’m tired of people disrespecting our President! I plan on taking out this ridiculous balloon…” the page stated, before GoFundMe reportedly took it down for violating its terms of service.\u003c/p>\n\u003cp>She reportedly raised $285 toward her $1,000 goal, with donors getting refunds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Reached by phone, the newspaper reports Conklin said, “I don’t want to talk to the press. They always twist things. Thanks,” then hung up.\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=American+Baby+Trump+Blimp+Set+To+Breeze+Onto+Namesake%27s+Home+Turf&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like any tantruming toddler, the 20-foot-tall baby Trump blimp hovering above Friday’s \u003ca href=\"https://www.npr.org/2018/07/13/628715766/large-protests-baby-blimp-greet-trump-in-london-and-the-u-k\">protests in London\u003c/a> was difficult to ignore.\u003c/p>\n\u003cp>Now a plan to bring a replica of the yellow-haired, phone-toting, sneering and diapered balloon stateside has garnered so much support that organizers say they will use the funds to buy multiple blimps “so we can go coast-to-coast, border-to-border.”\u003c/p>\n\u003cp>New Jersey activists Didier Jiminez-Castro and Jim Girvan said they “were inspired by the patriotic actions of our friends in the UK,” so they created a \u003ca href=\"https://www.gofundme.com/fund-to-bring-baby-trump-to-america\">GoFundMe page\u003c/a> to see if they could make a similar statement domestically.\u003c/p>\n\u003cp>They overshot their goal.\u003c/p>\n\u003cp>By Thursday, they had raised $23,693 of their $4,500 aim and closed the page to donations in order “to keep control” of the campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They expect the first balloon to be ready by mid-August and they plan to fly it near the president’s National Golf Club in Bedminster, N.J.\u003c/p>\n\u003cp>Girvan, an organizer of The People’s Motorcade, \u003ca href=\"https://www.cnn.com/2018/07/17/politics/trump-baby-blimp-new-jersey-trnd/index.html\">told CNN\u003c/a> his group holds frequent protests outside the club.\u003c/p>\n\u003cp>“We’re comfortable that we’re going to have the opportunity to fly the balloon in relatively close proximity to his golf club while he’s here,” Girvan told the news outlet.\u003c/p>\n\u003cp>Under the social media handle @babytrumptour, Jiminez-Castro and Girvan say the goal is to branch out and “to make Baby Trump available to various locations around the country.”\u003c/p>\n\u003cp>They said they are working closely with the creators of the original Trump blimp “to use their design and not a knock off.”\u003c/p>\n\u003cp>CNN reports the New Jersey activists have received permission to make their own balloons using the original patterns and molds.\u003c/p>\n\u003cp>The hope is it will elevate their protests in more ways than one.\u003c/p>\n\u003cp>“The baby Trump is not just a piece of humor, but it is also a symbol of the administration,” \u003ca href=\"https://www.nj.com/news/index.ssf/2018/07/baby_trump_balloon_is_coming_to_new_jersey.html?utm_medium=social&utm_source=twitter&utm_campaign=njdotcom_sf&utm_content=nj_twitter_njdotcom\">Jiminez-Castro told N.J.com\u003c/a>. “It’s symbolic of the children that are in cages, it’s a symbol of racism, and we know that he hates to be ridiculed.”\u003c/p>\n\u003cp>The original blimp flew the same day the actual Trump met with Prime Minister Theresa May at Chequers, about 40 miles outside London, followed by tea with Queen Elizabeth at Windsor Castle.\u003c/p>\n\u003cp>In an interview, he acknowledged he knew about the blimp imitation and was not flattered.\u003c/p>\n\u003cp>“I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London,” \u003ca href=\"https://www.thesun.co.uk/news/6766644/donald-trump-feels-unwelcome-london-protests/\">Trump told British newspaper the Sun\u003c/a>.\u003c/p>\n\u003cp>He spent a single night in London during his four-day U.K. trip.\u003c/p>\n\u003cp>Meantime, another apparent opponent of the Trump baby blimp had plans to pop the offending item.\u003c/p>\n\u003cp>Kathie Kitt Conklin of New Jersey started her own GoFundMe page, this one asking for donations, should she be arrested for deflating the balloon and need to be bailed out, \u003ca href=\"https://www.app.com/story/news/weird/2018/07/19/ocean-county-woman-vows-pop-trump-baby-balloon/799786002/\">reports the Asbury Park Press\u003c/a>.\u003c/p>\n\u003cp>“I’m tired of people disrespecting our President! I plan on taking out this ridiculous balloon…” the page stated, before GoFundMe reportedly took it down for violating its terms of service.\u003c/p>\n\u003cp>She reportedly raised $285 toward her $1,000 goal, with donors getting refunds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Reached by phone, the newspaper reports Conklin said, “I don’t want to talk to the press. They always twist things. Thanks,” then hung up.\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=American+Baby+Trump+Blimp+Set+To+Breeze+Onto+Namesake%27s+Home+Turf&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "on-fanfare-for-the-common-man-an-anthem-for-the-american-century",
"title": "On 'Fanfare For The Common Man,' An Anthem For The American Century",
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"headTitle": "On ‘Fanfare For The Common Man,’ An Anthem For The American Century | KQED",
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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/629875534/630378178\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>‘s “Fanfare for the Common Man” begins with dramatic percussion, heralding something big and exciting. Then comes a ladder of simple trumpet notes, solemn and heroic. The whole piece takes less than four minutes to play, but its admirers say it speaks volumes in that time.\u003c/p>\n\u003cp>“It’s a piece that feels like it was written by God,” says jazz trumpeter and composer \u003ca href=\"https://www.npr.org/artists/14864421/terence-blanchard\">Terence Blanchard\u003c/a>. “Whenever I hear it, it stops me in my tracks and makes me reflect on the goodness of man. And I know that sounds corny for some, but it really makes me think about [how], at the end of the day, most people in this country are good, God-fearing people. Honestly, that could have been our national anthem.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Copland: Fanfare for the Common Man - BBC Proms 2012\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZdqjcMmjeaA?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 1942, Copland was commissioned by the music director of the Cincinnati Symphony Orchestra to write a fanfare. The U.S. had entered World War II, and then-Vice President Henry A. Wallace was trying to rally Americans against imperialism. Copland was inspired by a speech Wallace gave that spring at the Free World Association in New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?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>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\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=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&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/629875534/630378178\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>‘s “Fanfare for the Common Man” begins with dramatic percussion, heralding something big and exciting. Then comes a ladder of simple trumpet notes, solemn and heroic. The whole piece takes less than four minutes to play, but its admirers say it speaks volumes in that time.\u003c/p>\n\u003cp>“It’s a piece that feels like it was written by God,” says jazz trumpeter and composer \u003ca href=\"https://www.npr.org/artists/14864421/terence-blanchard\">Terence Blanchard\u003c/a>. “Whenever I hear it, it stops me in my tracks and makes me reflect on the goodness of man. And I know that sounds corny for some, but it really makes me think about [how], at the end of the day, most people in this country are good, God-fearing people. Honestly, that could have been our national anthem.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Copland: Fanfare for the Common Man - BBC Proms 2012\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZdqjcMmjeaA?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 1942, Copland was commissioned by the music director of the Cincinnati Symphony Orchestra to write a fanfare. The U.S. had entered World War II, and then-Vice President Henry A. Wallace was trying to rally Americans against imperialism. Copland was inspired by a speech Wallace gave that spring at the Free World Association in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?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>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\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=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "large-protests-baby-blimp-greet-trump-in-london-and-the-u-k",
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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/628715766/628725756\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A baby blimp mocking President Trump floated over London on Friday, an emblem of protests that are expected to draw thousands of people who are angry with the American president’s policies and his views of the U.K.\u003c/p>\n\u003cp>The protests had been expected and promised — and after Trump arrived in England on Thursday, the flames were fanned anew, \u003ca href=\"https://www.thesun.co.uk/news/6766531/trump-may-brexit-us-deal-off/\">thanks to an interview with a tabloid\u003c/a> in which he gave scathing critiques of Prime Minister Theresa May, his host for the visit between allies.\u003c/p>\n\u003cp>A large-scale demonstration began at 2 p.m. local time, or 9 a.m. ET.\u003c/p>\n\u003cp>https://twitter.com/JoFloto/status/1017764997190037509\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As he has done in the past, Trump also targeted London Mayor Sadiq Khan, who approved the protesters’ plan to fly a “Trump Baby” blimp.\u003c/p>\n\u003cp>It was a matter of free speech and protest, even if it offends someone, Khan told NPR’s Mary Louise Kelly, adding that both Americans and Britons should be proud of that tradition.\u003c/p>\n\u003cp>“The key thing is, it should be done in a peaceful manner; it should be good-spirited,” Khan added.\u003c/p>\n\u003cp>Trump acknowledged that he knew about the plan to float a blimp caricature, telling \u003cem>The Sun\u003c/em>, “I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London.”\u003c/p>\n\u003cp>The blimp depicts an angry-looking Trump-like figure in a diaper; a cellphone is clutched in its right hand. The protest balloon’s launch drew a large crowd to London’s Parliament Square, and media outlets covered the process of the baby blimp being inflated and lifting off into the sky.\u003c/p>\n\u003cp>One man in the crowd held up a sign addressed to Trump that read, “You know your name means fart here, right?” An old slang term, “trump,” has gained new prominence as the American politician rose to power.\u003c/p>\n\u003cp>https://twitter.com/BarryWeirSky/status/1017697591088250881\u003c/p>\n\u003cp>The baby blimp was airborne for around two hours, \u003ca href=\"https://www.instagram.com/p/BlK-ie5H2Uw/?hl=en&taken-by=becsully\">before it was deflated\u003c/a> and stowed in a bag.\u003c/p>\n\u003cp>Another elaborate protest \u003ca href=\"https://twitter.com/BenKentish/status/1017485301562990592\">saw a “Dalek Trump”\u003c/a> — a version of the robotic bad guys from \u003cem>Doctor Who\u003c/em>, customized with a red tie and blond wig — patrolling Whitehall in Central London amid a phalanx of mock security agents.\u003c/p>\n\u003cp>https://twitter.com/BenKentish/status/1017485301562990592\u003c/p>\n\u003cp>Security teams have put massive preparations into place for Trump’s visit. The U.S. Embassy in the country’s closest ally \u003ca href=\"https://uk.usembassy.gov/demonstration-alert-2018-july-10/\">warned Americans\u003c/a> to be aware of their surroundings and keep a low profile during the demonstrations in both England and Scotland (where Trump will spend the weekend). And London’s \u003ca href=\"https://www.standard.co.uk/news/politics/donald-trump-london-protests-ring-of-steel-in-westminster-with-thousands-set-to-protest-presidents-a3886341.html\">The Evening Standard says\u003c/a> a “ring of steel,” or temporary fencing, has been erected around Parliament to keep protesters at a distance.\u003c/p>\n\u003cp>Many of the president’s British critics are calling on May and other leaders to confront Trump \u003ca href=\"https://www.npr.org/2018/07/11/627961302/we-need-to-take-a-stand-protesters-mobilize-in-u-k-ahead-of-trumps-arrival\">“and take a firm moral stance”\u003c/a> against his policies, as one organizer told NPR’s Alice Fordham this week.\u003c/p>\n\u003cp>Chief among those policies is Trump’s program of separating migrant children from their parents at the southern border. Despite an easing of that policy, many of those families remain divided, detained hundreds of miles apart.\u003c/p>\n\u003cp>Trump’s trip to Britain had long been anticipated. It comes after a trip that had been planned for February — to officially open the new U.S. Embassy — was canceled.\u003c/p>\n\u003cp>When he was asked about the planned protests, \u003ca href=\"https://www.npr.org/2018/07/12/628329172/trump-says-no-problem-in-nato-touting-allies-spending-pledges\">Trump said on Thursday\u003c/a> as he prepared to fly to Britain from a NATO summit, “I think they like me a lot in the U.K. I think they agree with me on immigration.”\u003c/p>\n\u003cp>More protests are scheduled for this weekend in Scotland — where there are no signs that the public reception will be any warmer for Trump.\u003c/p>\n\u003cp>Glasgow-based Tennent’s brewery is joining those who have treated the American leader with derision. Directing a mocking tweet at Trump — a message that also promotes the brewery’s new small cans — Tennent’s posted a photo showing a small hand reaching out of a suit (with a U.S. flag cufflink) for a beer, beneath the slogan “Tiny cans for tiny hands.”\u003c/p>\n\u003cp>https://twitter.com/TennentsLager/status/1017358186523889664\u003c/p>\n\u003cp>And \u003ca href=\"https://twitter.com/Mark_Leggatt/status/1017385343967006720\">The Scotsman newspaper\u003c/a> published an op-ed in which it stated, “the 45th U.S. president is an appalling human being.” The paper went on to say that Trump “is a racist, a serial liar, and either a sexual abuser or someone who falsely brags about being one.”\u003c/p>\n\u003cp>Trump’s schedule on Friday includes another meeting and a working lunch with May at Chequers — the prime minister’s country house — and a visit to Queen Elizabeth II at Windsor Castle, where they’ll have tea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the White House schedule, from the moment Trump and first lady Melania Trump greet the queen to the moment they leave for the castle’s landing zone to begin their trip to Scotland, the royal visit will have lasted an entirety of 40 minutes.\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=Large+Protests%2C+Baby+Blimp+Greet+Trump+In+London+And+The+U.K.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As he has done in the past, Trump also targeted London Mayor Sadiq Khan, who approved the protesters’ plan to fly a “Trump Baby” blimp.\u003c/p>\n\u003cp>It was a matter of free speech and protest, even if it offends someone, Khan told NPR’s Mary Louise Kelly, adding that both Americans and Britons should be proud of that tradition.\u003c/p>\n\u003cp>“The key thing is, it should be done in a peaceful manner; it should be good-spirited,” Khan added.\u003c/p>\n\u003cp>Trump acknowledged that he knew about the plan to float a blimp caricature, telling \u003cem>The Sun\u003c/em>, “I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London.”\u003c/p>\n\u003cp>The blimp depicts an angry-looking Trump-like figure in a diaper; a cellphone is clutched in its right hand. The protest balloon’s launch drew a large crowd to London’s Parliament Square, and media outlets covered the process of the baby blimp being inflated and lifting off into the sky.\u003c/p>\n\u003cp>One man in the crowd held up a sign addressed to Trump that read, “You know your name means fart here, right?” An old slang term, “trump,” has gained new prominence as the American politician rose to power.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The baby blimp was airborne for around two hours, \u003ca href=\"https://www.instagram.com/p/BlK-ie5H2Uw/?hl=en&taken-by=becsully\">before it was deflated\u003c/a> and stowed in a bag.\u003c/p>\n\u003cp>Another elaborate protest \u003ca href=\"https://twitter.com/BenKentish/status/1017485301562990592\">saw a “Dalek Trump”\u003c/a> — a version of the robotic bad guys from \u003cem>Doctor Who\u003c/em>, customized with a red tie and blond wig — patrolling Whitehall in Central London amid a phalanx of mock security agents.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Security teams have put massive preparations into place for Trump’s visit. The U.S. Embassy in the country’s closest ally \u003ca href=\"https://uk.usembassy.gov/demonstration-alert-2018-july-10/\">warned Americans\u003c/a> to be aware of their surroundings and keep a low profile during the demonstrations in both England and Scotland (where Trump will spend the weekend). And London’s \u003ca href=\"https://www.standard.co.uk/news/politics/donald-trump-london-protests-ring-of-steel-in-westminster-with-thousands-set-to-protest-presidents-a3886341.html\">The Evening Standard says\u003c/a> a “ring of steel,” or temporary fencing, has been erected around Parliament to keep protesters at a distance.\u003c/p>\n\u003cp>Many of the president’s British critics are calling on May and other leaders to confront Trump \u003ca href=\"https://www.npr.org/2018/07/11/627961302/we-need-to-take-a-stand-protesters-mobilize-in-u-k-ahead-of-trumps-arrival\">“and take a firm moral stance”\u003c/a> against his policies, as one organizer told NPR’s Alice Fordham this week.\u003c/p>\n\u003cp>Chief among those policies is Trump’s program of separating migrant children from their parents at the southern border. Despite an easing of that policy, many of those families remain divided, detained hundreds of miles apart.\u003c/p>\n\u003cp>Trump’s trip to Britain had long been anticipated. It comes after a trip that had been planned for February — to officially open the new U.S. Embassy — was canceled.\u003c/p>\n\u003cp>When he was asked about the planned protests, \u003ca href=\"https://www.npr.org/2018/07/12/628329172/trump-says-no-problem-in-nato-touting-allies-spending-pledges\">Trump said on Thursday\u003c/a> as he prepared to fly to Britain from a NATO summit, “I think they like me a lot in the U.K. I think they agree with me on immigration.”\u003c/p>\n\u003cp>More protests are scheduled for this weekend in Scotland — where there are no signs that the public reception will be any warmer for Trump.\u003c/p>\n\u003cp>Glasgow-based Tennent’s brewery is joining those who have treated the American leader with derision. Directing a mocking tweet at Trump — a message that also promotes the brewery’s new small cans — Tennent’s posted a photo showing a small hand reaching out of a suit (with a U.S. flag cufflink) for a beer, beneath the slogan “Tiny cans for tiny hands.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And \u003ca href=\"https://twitter.com/Mark_Leggatt/status/1017385343967006720\">The Scotsman newspaper\u003c/a> published an op-ed in which it stated, “the 45th U.S. president is an appalling human being.” The paper went on to say that Trump “is a racist, a serial liar, and either a sexual abuser or someone who falsely brags about being one.”\u003c/p>\n\u003cp>Trump’s schedule on Friday includes another meeting and a working lunch with May at Chequers — the prime minister’s country house — and a visit to Queen Elizabeth II at Windsor Castle, where they’ll have tea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the White House schedule, from the moment Trump and first lady Melania Trump greet the queen to the moment they leave for the castle’s landing zone to begin their trip to Scotland, the royal visit will have lasted an entirety of 40 minutes.\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=Large+Protests%2C+Baby+Blimp+Greet+Trump+In+London+And+The+U.K.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Three Identical Strangers’: Nuanced Doc Tells A Gripping Tale — In Triplicate | KQED",
"content": "\u003cp>Now in his grizzled late fifties, Bobby Shafran is an affable, ordinary fellow whose life ran away from him back in 1980, when the nineteen-year-old freshman drove his beat-up Volvo to enter community college in upstate New York. He was puzzled at being effusively greeted by fellow students who called him Eddy. It quickly transpired that he was a dead ringer for another student at the college named Eddy Galland, who turned out to be the twin Bobby never knew he had. The discovery got into the local press, and soon a third lookalike, David Kellman, turned up. The identical triplets, all adopted by different families, were joyfully reunited and only too happy to take on the fairy-tale collective identity bestowed on them by the television talk shows. Which is when things began to really get weird, and not only because neither the boys nor their adoptive parents had known that other siblings existed.\u003c/p>\n\u003cp>If \u003cem>Three Identical Strangers\u003c/em> — an extraordinary documentary about the three brothers by British director Tim Wardle — were only about the deathless allure of identical offspring, it would still be a riveting tale. The demonstrable sameness of siblings hatched from the same egg excites the friction between our insistence on individual uniqueness and our desire for a mirror-image Other who will understand and defend us and keep us company forever. Or so the fantasy goes.\u003c/p>\n\u003cp>It didn’t hurt that the three boys, as we see in home movies and clips from the television talk circuit, were telegenic teddy bears with liquid brown eyes, masses of black curls and bashful, camera-ready grins. Paraded before an enthralled public, they dutifully showed up in the same outfits, crossed their legs in unison on demand, confessed under pressure to having the same taste in women. All had wrestled in high school, and wasn’t it amazing that they all had adopted sisters? Bobby, Eddy, and David made the nightclub rounds, got married, opened a restaurant together. Their celebrity status was predicated on their sameness, and for so long as they could play along with the packaging, it was all so super-cute. Until it wasn’t, and here the boys’ story, or stories (the plural bursts with significance), went from amazing to incredible to very, very dark.\u003c/p>\n\u003cp>https://youtu.be/uM5TQ4f7ycw\u003c/p>\n\u003cp>On its face, \u003cem>Three Identical Strangers\u003c/em> presents as a straight-ahead documentary with the usual mix of home and media footage, re-enactments, and testimony from friends, family, other interested parties as well as two of the siblings themselves. In fact, the film is an artfully constructed investigative narrative structured to give us the sense of discovering, along with the boys and their families, several layers of buried secrets and lies that blighted their adult lives. If ever a story called for multiple narratives and deep digging into the past it’s this one. The triplets kept shedding identities and starting over in cataclysmic renewal — once at birth, again when they met and got swept into a media circus, and then, as new information peeled back their histories apart and together, in a reckoning that undid one of them and did serious damage to the others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From the moment they were born, the film shows, the adoptive families fell victim to casual abuses of power, from the adoption agency that concealed their biological parentage and their triplet status, to the scientists who used them as guinea pigs for a study of nature versus nurture that was never published, to the media that trapped them inside a fairy tale they could never live up to. Watching these families get gobbled up by skewed exposure to the public eye, I was reminded of Andrew Jarecki’s equally riveting 2003 doc \u003cem>Capturing the Friedmans\u003c/em>, in which an already troubled Long island family caught up in a child abuse case was further crucified by rushes to judgment on the part of the police, the courts, the media and their local community.\u003c/p>\n\u003cp>Wardle captures the families’ outrage at what had been kept from them. Sensitive to historical context too, he brings in journalist Lawrence Wright, who wrote a book about twin studies, as well as former researchers on the study, to show that ethical concerns about privacy and disclosure were less encoded into professional practice in the sixties than they are today. Still, interpreting the past through re-enactment can be tricky. The adoption agency is closed now and there’s no one to verify the dramatized memory of one adoptive father who recalls stumbling on board members toasting one another with champagne after a meeting in which they thought they’d pacified angry parents with half-truths.\u003c/p>\n\u003cp>In yet another twist to a serpentine tale that Wardle tracks like a thriller, we learn that the triplets had one more thing in common: All had troubled passages from childhood through adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they spanned the class spectrum and their parenting styles varied, with one disciplinarian father taking the weight of blame for his son’s emotional instability. When a former researcher reads from the notes he took during the testing, we learn as much about the heedless parent-blaming that prevailed among psychologists after World War II as about the boys’ early difficulties.\u003c/p>\n\u003cp>Once the movie gets deep into the muck of how vulnerable the triplets were to forces beyond their control, the differences between them become stark, and even the similarities don’t tally up to the fable of happy similarity in which the media had wrapped them. Here the nature-nurture debate heats up and the movie’s pendulum swings from heredity to environment as we witness the disparate fates that befell the three men. “It’s all about nurture!” exclaims one relative. Not \u003cem>all\u003c/em>, this nuanced film makes clear. And in one triplet’s baffled, anguished cry about a lost brother, “Why him and not me? I don’t know,” a clue emerges that there is nature, and there is nurture, and beyond both lie the unknowable mysteries of human character: Who succumbs to trauma and who survives, and what survival even means when you’ve lost your flesh and blood many times over.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Toward the end of \u003cem>Three Identical Strangers\u003c/em> Wardle brings two brothers together to inspect new information about their past on a laptop. What they discover is disturbing enough, but what really breaks the viewer’s heart is the nervous unease with which they greet each other, two identical strangers who were once close but seem not to have met in a while, and who seem to have lost the one thing that we assume twins should be able to count on. Trust.\u003c/p>\n\n",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"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",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"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": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"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",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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