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"content": "\u003cp>Donald Hall, a former poet laureate of the United States whose writing explored everything from nature to mortality to the toss of a baseball, has died at the age of 89. \u003c/p>\n\u003cp>Hall died on Saturday at his family farm, known as Eagle Pond, in the small town of Wilmot, N.H. His death was announced by his literary agent, Wendy Strothman. \u003c/p>\n\u003cp>Hall was a prolific author who began writing when he was just 12 years old. Over the course of a career that spanned more than seven decades, he wrote over 40 books, about half of which were works of poetry. \u003c/p>\n\u003cp>“My body causes me trouble when I cross the room,” he told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in \u003ca href=\"https://www.npr.org/2012/02/08/146348759/donald-hall-a-poets-view-out-the-window\" target=\"_blank\" rel=\"noopener\">a 2012 interview\u003c/a>, “but when I am sitting down writing, I am in my heaven — my old heaven.” \u003c/p>\n\u003cp>From 2006 to 2007, Hall served as the nation’s poet laureate, and in 2010, he was among the recipients of the National Medal of Arts, the nation’s highest honor for artists and arts patrons. His writing, former President Barack Obama once said, “inspired Americans and enhanced the role of poetry in our national life.” \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=Donald+Hall%2C+Former+Poet+Laureate%2C+Dies+At+89&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>Donald Hall, a former poet laureate of the United States whose writing explored everything from nature to mortality to the toss of a baseball, has died at the age of 89. \u003c/p>\n\u003cp>Hall died on Saturday at his family farm, known as Eagle Pond, in the small town of Wilmot, N.H. His death was announced by his literary agent, Wendy Strothman. \u003c/p>\n\u003cp>Hall was a prolific author who began writing when he was just 12 years old. Over the course of a career that spanned more than seven decades, he wrote over 40 books, about half of which were works of poetry. \u003c/p>\n\u003cp>“My body causes me trouble when I cross the room,” he told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in \u003ca href=\"https://www.npr.org/2012/02/08/146348759/donald-hall-a-poets-view-out-the-window\" target=\"_blank\" rel=\"noopener\">a 2012 interview\u003c/a>, “but when I am sitting down writing, I am in my heaven — my old heaven.” \u003c/p>\n\u003cp>From 2006 to 2007, Hall served as the nation’s poet laureate, and in 2010, he was among the recipients of the National Medal of Arts, the nation’s highest honor for artists and arts patrons. His writing, former President Barack Obama once said, “inspired Americans and enhanced the role of poetry in our national life.” \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=Donald+Hall%2C+Former+Poet+Laureate%2C+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Arrest Made in the Murder of Rapper XXXTentacion",
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"content": "\u003cp>A suspect in the murder of 20-year-old Jahseh Onfroy, better known as the controversial and chart-topping rapper XXXTentacion (pronounced “ex-ex-ex-ten-tah-see-ohn”), has been arrested, the Broward Sheriff’s Office \u003ca href=\"https://twitter.com/browardsheriff/status/1009799365156855809\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> Thursday morning. The police say that Dedrick Williams, 22 years old, was \u003ca href=\"https://apps.sheriff.org/ArrestSearch/InmateDetail/121800604\" target=\"_blank\" rel=\"noopener\">arrested\u003c/a> for the the murder of Onfroy, who was shot outside of a high-end motor sports dealership in Deerfield Beach, Fla. on June 18. Williams was arrested around 7 p.m. on Wednesday in Pompano Beach, Fla., just south of Deerfield Beach, according to police. In a follow-up statement, police \u003ca href=\"https://twitter.com/browardsheriff/status/1009836415964860417\" target=\"_blank\" rel=\"noopener\">say\u003c/a> Williams was arrested during a traffic stop and that they are still searching for additional suspects.\u003c/p>\n\u003cp>On Monday, \u003ca href=\"https://www.sheriff.org/PIO/News/Pages/RAPPER-KILLED-IN-BROAD-DAYLIGHT.aspx\" target=\"_blank\" rel=\"noopener\">investigators said\u003c/a> they were searching for two suspects, at least one of whom shot at Onfroy during an “apparent robbery,” before fleeing in a dark-colored SUV. In that statement, the sheriff’s office also noted it would offer a $3,000 reward for information that led to an arrest.\u003c/p>\n\u003cfigure id=\"attachment_13835811\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg\" alt=\"Mug shot of Dedrick Williams.\" width=\"200\" height=\"231\" class=\"size-full wp-image-13835811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc-160x185.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mug shot of Dedrick Williams. \u003ccite>(Courtesy of the Broward Sheriff's Office)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"https://twitter.com/AKWPR/status/1009169337293213696?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.nme.com%2Fnews%2Fmusic%2Fxxxtentacion-manager-statement-2341329\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from Onfroy’s manager posted on social media on Tuesday, June 19 requested that the privacy of his family, friends and loved ones “be respected at this time.”\u003c/p>\n\u003cp>Onfroy’s murder triggered an outpouring of tributes from his fans and other artists, with Kanye West \u003ca href=\"https://twitter.com/kanyewest/status/1008839504902307840\" target=\"_blank\" rel=\"noopener\">writing\u003c/a> that he never told Onfroy “how much you inspired me when you were here.” In Los Angeles on Tuesday night, a vigil attended by around 1,000 devolved into the crowd jumping on a news van and swarming passing cars, \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-xxxtentacion-memorial-fairfax-20180619-story.html\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> the \u003cem>Los Angeles Times\u003c/em>,\u003cem> \u003c/em>before being dispersed by police. Earlier that day, a Broward television station \u003ca href=\"https://www.local10.com/news/florida/deerfield-beach/vigil-held-tuesday-for-rapper-gunned-down-in-deerfield-beach\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that “hundreds” gathered at the site of his shooting in a vigil, leaving behind teddy bears and graffiti.\u003c/p>\n\u003cp>But the response to Onfroy’s death has been notably divided, due to the litany of allegations against him, including \u003ca href=\"https://www2.miami-dadeclerk.com/cjis/CasePrinter.aspx?case=Jw2cFa%2fOs%2fffWfyL1nWI8A%3d%3d&AspxAutoDetectCookieSupport=1\" target=\"_blank\" rel=\"noopener\">the battery\u003c/a> of a pregnant ex-girlfriend and a history of other violent actions, as Onfroy \u003ca href=\"http://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener\">recently described\u003c/a> in an interview with \u003cem>Miami New Times\u003c/em>. On Twitter, \u003ca href=\"https://twitter.com/francesssraeee/status/1008840916218646529\" target=\"_blank\" rel=\"noopener\">some\u003c/a> thought he didn’t deserve posthumous celebration because of that past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If we act as if he never existed, or as if he was not as popular as he was … or as if his fans didn’t see some articulation of their own hurt and hopelessness in his music, we’re lying to ourselves,” \u003cem>The Ringer\u003c/em>‘s Lindsay Zoladz \u003ca href=\"https://www.theringer.com/music/2018/6/18/17477234/xxxtentacion-death\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> the day of his death. In the headline of a piece on responses to his death, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/06/19/arts/music/xxxtentacion-death-reaction.html\" target=\"_blank\" rel=\"noopener\">wondered\u003c/a>: “Hero or Villain?”\u003c/p>\n\u003cp>XXXTentacion was one of two artists initially targeted by a “hateful conduct” policy that Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> in May, which resulted in artists not being placed onto the streaming service’s highly popular playlists. (Following criticism and protests from other artists — including \u003ca href=\"https://www.billboard.com/articles/business/8458884/top-dawg-warned-spotify-ceo-kendrick-lamar-others-pull-music-hate-conduct-policy\" target=\"_blank\" rel=\"noopener\">an ultimatum\u003c/a> from the head of Kendrick Lamar’s record label — the company later \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> the policy.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The day after his death, June 19, XXXTentacion’s song “SAD!” was streamed 10.4 million times on Spotify, breaking the global single-day streaming record set by Taylor Swift on Aug. 25 of last year, the day that her single “Look What You Made Me Do” was released, with 10.1 million. As well, his album \u003cem>?\u003c/em> is expected to \u003ca href=\"https://www.billboard.com/biz/articles/8461856/xxxtentacions-music-sales-rise-1603-after-death-as-his-album-heads-back-to-top\" target=\"_blank\" rel=\"noopener\">return\u003c/a> to the top 10 of next week’s \u003cem>Billboard \u003c/em>200 albums chart. \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=Arrest+Made+In+The+Murder+Of+Rapper+XXXTentacion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we act as if he never existed, or as if he was not as popular as he was … or as if his fans didn’t see some articulation of their own hurt and hopelessness in his music, we’re lying to ourselves,” \u003cem>The Ringer\u003c/em>‘s Lindsay Zoladz \u003ca href=\"https://www.theringer.com/music/2018/6/18/17477234/xxxtentacion-death\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> the day of his death. In the headline of a piece on responses to his death, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/06/19/arts/music/xxxtentacion-death-reaction.html\" target=\"_blank\" rel=\"noopener\">wondered\u003c/a>: “Hero or Villain?”\u003c/p>\n\u003cp>XXXTentacion was one of two artists initially targeted by a “hateful conduct” policy that Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> in May, which resulted in artists not being placed onto the streaming service’s highly popular playlists. (Following criticism and protests from other artists — including \u003ca href=\"https://www.billboard.com/articles/business/8458884/top-dawg-warned-spotify-ceo-kendrick-lamar-others-pull-music-hate-conduct-policy\" target=\"_blank\" rel=\"noopener\">an ultimatum\u003c/a> from the head of Kendrick Lamar’s record label — the company later \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> the policy.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The day after his death, June 19, XXXTentacion’s song “SAD!” was streamed 10.4 million times on Spotify, breaking the global single-day streaming record set by Taylor Swift on Aug. 25 of last year, the day that her single “Look What You Made Me Do” was released, with 10.1 million. As well, his album \u003cem>?\u003c/em> is expected to \u003ca href=\"https://www.billboard.com/biz/articles/8461856/xxxtentacions-music-sales-rise-1603-after-death-as-his-album-heads-back-to-top\" target=\"_blank\" rel=\"noopener\">return\u003c/a> to the top 10 of next week’s \u003cem>Billboard \u003c/em>200 albums chart. \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=Arrest+Made+In+The+Murder+Of+Rapper+XXXTentacion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re at all familiar with the modern perception of barbershop singing, you might have guessed that one of its leading organizations, the Barbershop Harmony Society, was an all-male — and all-white — organization at the time of its founding in 1938. The organization opened to people of color in 1963, as the country was living within the crucible of the civil rights movement. For 80 years, though, it remained closed to women. Until yesterday.\u003c/p>\n\u003cp>“Beginning today,” the BHS’ statement, released June 19, reads, “we welcome women to join the Barbershop Harmony Society as members.” Its membership chapters can, however, “choose to stay exactly the same as you are today” — as a male-only club — or “choose to add a mixed chorus, or a new, distinct women’s chorus. New chapters might form — male, female, or mixed. This is about adding, not subtracting. More people, sharing more harmony, and more joy, in more ways.” Later, its announcement makes it plain that chapters are not required to begin accepting female members. And, further suggesting a controversial core to the announcement, the BHS notes it believes “preserving the experience of men singing together \u003cem>and\u003c/em> welcoming women as members of the barbershop harmony society are compatible ideas.”\u003c/p>\n\u003cp>The announcement is the result of a three-year soul search undertaken by the BHS, during which it conducted membership surveys, studies and research on its aims, which yielded a broad platform: “\u003ca href=\"http://www.barbershop.org/everyoneinharmony/\" target=\"_blank\" rel=\"noopener\">Everyone In Harmony\u003c/a>.”\u003c/p>\n\u003cp>The BHS’ policy shift and the statement accompanying it is notable both for its timing and its tone — “cautious” might be the word. It’s a tiptoe that can be traced with ease to the cultural origins in which barbershop became popular. The Barbershop Harmony Society’s first meeting took place in the spring of 1938 at the Tulsa Club, an all-white, membership-only organization of the time, established to provide southern oil men a place to socialize in private. After a two-decade wane in popularity that began in the ’20s, the establishment of the BHS kicked off a revival of the barbershop sound through the ’40s and helped to define \u003ca href=\"https://www.google.com/search?q=barbershop+quartet&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-1f2MpuDbAhXNx1kKHb0NBM4Q_AUICygC&biw=1365&bih=619\" target=\"_blank\" rel=\"noopener\">a (not-incorrect) perception\u003c/a> of the genre that has lasted into the present day.\u003c/p>\n\u003cp>“Gentlemen,” the organization’s initial, industrialist-tinged call to song \u003ca href=\"http://www.barbershop.org/about-us/history-of-barbershop/how-it-all-began/\" target=\"_blank\" rel=\"noopener\">began\u003c/a>, “In this age of dictators and government control of everything, about the only privilege guaranteed by the Bill of Rights not in some way supervised and directed, is the art of barber shop \u003cem>[sic]\u003c/em> quartet singing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In that note, from 1938, a plan to head off interlopers and to protect delicate sensibilities was well in place: “We will have a private room and so will not be embarrassed by the curiosity of the vulgar public,” it read, before concluding, “You may bring a fellow singer if you desire.” With that, the bedrock for what was then called the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America was established.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yjnveOPkLq4\u003c/p>\n\u003cp>That plea for harmony was written 80 years ago by Rupert Hall, “Royal Keeper of the Minor Keys,” and Owen Clifton Cash, “Third Assistant Temporary Vice Chairman.” Those self-applied titles were an \u003ca href=\"http://www.barbershop.org/owen-clifton-oc-cash-our-founder/\">apparent\u003c/a> tongue-in-cheek dig at the honorifics going around at the time thanks to the New Deal, as was its ludicrous acronym, SPEBSQSA.\u003c/p>\n\u003cp>But, as the BHS enters the 21st century with its new, admittedly spongy, policy of inclusion, it has stood side-by-side for nearly its whole history with an organization that does much the same thing, but across the formerly impassable line of gender: Sweet Adelines International, a women’s barbershop organization also founded in Tulsa, still under the shadow of World War II at the time.\u003c/p>\n\u003cp>“In 1945, there were several wives of barbershoppers who wanted to do what their husbands were doing. The BHS were all men and they wanted to keep it that way,” Patty Cobb-Baker, president of Sweet Adelines, tells NPR. The men wanted to “keep the wives at home and doing whatever they were doing back in 1945. But a woman by the name of Edna Mae Anderson said ‘Well, we can, and we want to.’ ”\u003c/p>\n\u003cp>Cobb-Baker says Sweet Adelines became a way to foster leadership within (white) female communities — the harmonies gave its members “the opportunity to commune with other women,” Cobb-Baker says, “to become leaders. Kind of like the Girl Scouts, we like to grow leadership skills in women that they never knew they had.”\u003c/p>\n\u003cp>Of the potential competition that BHS’ new policy could present to her organization, Cobb-Baker says she’d “be lying” if the thought didn’t cross her mind. “We have a very strong strategic plan ourselves, our own vision,” she says. “We will always be happy when there are more opportunities for people to sing in the world.”\u003c/p>\n\u003cp>Barbershop’s origins as a genre and a term are more diverse than the image it has accrued over the 80 years since the BHS’ founding, however — wildly so, according to Frédéric Döhl, a musicologist and author of the \u003ca href=\"https://www.jstor.org/stable/10.5406/americanmusic.32.2.0123\" target=\"_blank\" rel=\"noopener\">2014 paper\u003c/a>\u003cem> From Harmonic Style to Genre: The Early History of the Uniquely American Musical Term Barbershop\u003c/em>. Döhl writes that, at least when it comes to use of the word barbershop to describe the musical style, that “no reliable attributions can be made about its origins with regard to race, gender, region, social environment, amateur or professional, impromptu or composed-arranged, highbrow or lowbrow etc.”\u003c/p>\n\u003cp>Despite that, the form has cultivated — on purpose at first, later perhaps by reflex — a palpable and gentry-ish defensive streak among its practitioners. As one singer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=92246274&ft=nprml&f=92246274\" target=\"_blank\" rel=\"noopener\">told NPR in 2008\u003c/a>, commenting on the introduction of more modern pop songs into the form: “I happen to be one of many that has difficulty in telling you what barbershop is, but I can sure tell you when it isn’t.”\u003c/p>\n\u003cp>“We like to think of them as ‘preservationists.’ There is certainly a range of devotion to what is believed to be the ‘pure’ barbershop style,” Brian Lynch, a public relations executive with the BHS, tells NPR. “In my experience, ‘barbershop’ is whatever it was the day you joined.”\u003c/p>\n\u003cp>Of its checkered origins, Lynch is forthright. Asked of its past as an all-white, all-male organization, he says it “is a piece of our history that we’re working hard to acknowledge and understand and move forward from. It’s not something we’re proud of today.” He adds that the BHS has \u003ca href=\"https://issuu.com/theharmonizer/docs/harmonizer_vol77_no6_novdec2017/24\" target=\"_blank\" rel=\"noopener\">established\u003c/a> an endowment fund for persons of color, “all parts of the evolution of any organization to reset and understand what your purpose is.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Our motto,” Cobb-Baker says, “is ‘harmonize the world.’ ” That’s a tall order — always, perhaps more so now than ever. But it’s never too late to try. \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=After+80+Years%2C+The+Barbershop+Harmony+Society+Will+Allow+Women+To+Join&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re at all familiar with the modern perception of barbershop singing, you might have guessed that one of its leading organizations, the Barbershop Harmony Society, was an all-male — and all-white — organization at the time of its founding in 1938. The organization opened to people of color in 1963, as the country was living within the crucible of the civil rights movement. For 80 years, though, it remained closed to women. Until yesterday.\u003c/p>\n\u003cp>“Beginning today,” the BHS’ statement, released June 19, reads, “we welcome women to join the Barbershop Harmony Society as members.” Its membership chapters can, however, “choose to stay exactly the same as you are today” — as a male-only club — or “choose to add a mixed chorus, or a new, distinct women’s chorus. New chapters might form — male, female, or mixed. This is about adding, not subtracting. More people, sharing more harmony, and more joy, in more ways.” Later, its announcement makes it plain that chapters are not required to begin accepting female members. And, further suggesting a controversial core to the announcement, the BHS notes it believes “preserving the experience of men singing together \u003cem>and\u003c/em> welcoming women as members of the barbershop harmony society are compatible ideas.”\u003c/p>\n\u003cp>The announcement is the result of a three-year soul search undertaken by the BHS, during which it conducted membership surveys, studies and research on its aims, which yielded a broad platform: “\u003ca href=\"http://www.barbershop.org/everyoneinharmony/\" target=\"_blank\" rel=\"noopener\">Everyone In Harmony\u003c/a>.”\u003c/p>\n\u003cp>The BHS’ policy shift and the statement accompanying it is notable both for its timing and its tone — “cautious” might be the word. It’s a tiptoe that can be traced with ease to the cultural origins in which barbershop became popular. The Barbershop Harmony Society’s first meeting took place in the spring of 1938 at the Tulsa Club, an all-white, membership-only organization of the time, established to provide southern oil men a place to socialize in private. After a two-decade wane in popularity that began in the ’20s, the establishment of the BHS kicked off a revival of the barbershop sound through the ’40s and helped to define \u003ca href=\"https://www.google.com/search?q=barbershop+quartet&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-1f2MpuDbAhXNx1kKHb0NBM4Q_AUICygC&biw=1365&bih=619\" target=\"_blank\" rel=\"noopener\">a (not-incorrect) perception\u003c/a> of the genre that has lasted into the present day.\u003c/p>\n\u003cp>“Gentlemen,” the organization’s initial, industrialist-tinged call to song \u003ca href=\"http://www.barbershop.org/about-us/history-of-barbershop/how-it-all-began/\" target=\"_blank\" rel=\"noopener\">began\u003c/a>, “In this age of dictators and government control of everything, about the only privilege guaranteed by the Bill of Rights not in some way supervised and directed, is the art of barber shop \u003cem>[sic]\u003c/em> quartet singing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In that note, from 1938, a plan to head off interlopers and to protect delicate sensibilities was well in place: “We will have a private room and so will not be embarrassed by the curiosity of the vulgar public,” it read, before concluding, “You may bring a fellow singer if you desire.” With that, the bedrock for what was then called the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America was established.\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/yjnveOPkLq4'\n title='//www.youtube.com/embed/yjnveOPkLq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That plea for harmony was written 80 years ago by Rupert Hall, “Royal Keeper of the Minor Keys,” and Owen Clifton Cash, “Third Assistant Temporary Vice Chairman.” Those self-applied titles were an \u003ca href=\"http://www.barbershop.org/owen-clifton-oc-cash-our-founder/\">apparent\u003c/a> tongue-in-cheek dig at the honorifics going around at the time thanks to the New Deal, as was its ludicrous acronym, SPEBSQSA.\u003c/p>\n\u003cp>But, as the BHS enters the 21st century with its new, admittedly spongy, policy of inclusion, it has stood side-by-side for nearly its whole history with an organization that does much the same thing, but across the formerly impassable line of gender: Sweet Adelines International, a women’s barbershop organization also founded in Tulsa, still under the shadow of World War II at the time.\u003c/p>\n\u003cp>“In 1945, there were several wives of barbershoppers who wanted to do what their husbands were doing. The BHS were all men and they wanted to keep it that way,” Patty Cobb-Baker, president of Sweet Adelines, tells NPR. The men wanted to “keep the wives at home and doing whatever they were doing back in 1945. But a woman by the name of Edna Mae Anderson said ‘Well, we can, and we want to.’ ”\u003c/p>\n\u003cp>Cobb-Baker says Sweet Adelines became a way to foster leadership within (white) female communities — the harmonies gave its members “the opportunity to commune with other women,” Cobb-Baker says, “to become leaders. Kind of like the Girl Scouts, we like to grow leadership skills in women that they never knew they had.”\u003c/p>\n\u003cp>Of the potential competition that BHS’ new policy could present to her organization, Cobb-Baker says she’d “be lying” if the thought didn’t cross her mind. “We have a very strong strategic plan ourselves, our own vision,” she says. “We will always be happy when there are more opportunities for people to sing in the world.”\u003c/p>\n\u003cp>Barbershop’s origins as a genre and a term are more diverse than the image it has accrued over the 80 years since the BHS’ founding, however — wildly so, according to Frédéric Döhl, a musicologist and author of the \u003ca href=\"https://www.jstor.org/stable/10.5406/americanmusic.32.2.0123\" target=\"_blank\" rel=\"noopener\">2014 paper\u003c/a>\u003cem> From Harmonic Style to Genre: The Early History of the Uniquely American Musical Term Barbershop\u003c/em>. Döhl writes that, at least when it comes to use of the word barbershop to describe the musical style, that “no reliable attributions can be made about its origins with regard to race, gender, region, social environment, amateur or professional, impromptu or composed-arranged, highbrow or lowbrow etc.”\u003c/p>\n\u003cp>Despite that, the form has cultivated — on purpose at first, later perhaps by reflex — a palpable and gentry-ish defensive streak among its practitioners. As one singer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=92246274&ft=nprml&f=92246274\" target=\"_blank\" rel=\"noopener\">told NPR in 2008\u003c/a>, commenting on the introduction of more modern pop songs into the form: “I happen to be one of many that has difficulty in telling you what barbershop is, but I can sure tell you when it isn’t.”\u003c/p>\n\u003cp>“We like to think of them as ‘preservationists.’ There is certainly a range of devotion to what is believed to be the ‘pure’ barbershop style,” Brian Lynch, a public relations executive with the BHS, tells NPR. “In my experience, ‘barbershop’ is whatever it was the day you joined.”\u003c/p>\n\u003cp>Of its checkered origins, Lynch is forthright. Asked of its past as an all-white, all-male organization, he says it “is a piece of our history that we’re working hard to acknowledge and understand and move forward from. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our motto,” Cobb-Baker says, “is ‘harmonize the world.’ ” That’s a tall order — always, perhaps more so now than ever. But it’s never too late to try. \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=After+80+Years%2C+The+Barbershop+Harmony+Society+Will+Allow+Women+To+Join&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes, an image breaks through and captures the essence of a story that we’ve all been hearing about. John Moore made one of those images last week, when he photographed a 2-year-old Honduran girl stopped by the Border Patrol after crossing the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620775153/620775154\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The photo is taken from her vantage point. Adults loom over her in the dark out of frame, and she’s crying as her mother is searched.\u003c/p>\n\u003cp>Moore had been photographing Border Patrol agents in the Rio Grande Valley on June 12. On that moonless night, they encountered a group of people seeking to cross the border, most of them families.\u003c/p>\n\u003cp>“I could see the fear on their faces, in their eyes,” says Moore, an award-winning photographer with Getty Images. “As the Border Patrol took people’s names down, I could see a mother holding a young child.”\u003c/p>\n\u003cfigure id=\"attachment_13835491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg\" alt=\"A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O'odham Reservation in Arizona\" width=\"800\" height=\"515\" class=\"size-medium wp-image-13835491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1920x1235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O’odham Reservation in Arizona \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, it was time for the undocumented immigrants to be searched before being transported to a processing center. The Border Patrol asked the mother to set down her daughter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At that moment, the young child broke into tears, and she started wailing,” Moore says. “I took a knee and had very few frames of that moment before it was over.”\u003c/p>\n\u003cp>Moore, who speaks Spanish, was able to talk with them briefly. The mother told him they were from Honduras and had been on the road for a month.\u003c/p>\n\u003cfigure id=\"attachment_13835505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg\" alt=\"A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And I knew at that moment that this point in their journey, which was very emotional for me to see them being detained, for them was just part of a very, very long journey,” says Moore, who has covered the U.S.-Mexico border for a decade.\u003c/p>\n\u003cp>After that, he says, the mother picked up her daughter. They got in a van and were taken away.\u003c/p>\n\u003cp>“I do not know what happened to them. I would very much like to know,” he says. “Ever since I took those pictures, I think about that moment often. And it’s emotional for me every time.”\u003c/p>\n\u003cfigure id=\"attachment_13835494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe\" alt=\"Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-768x511.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1020x679.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1200x799.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1920x1279.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1180x786.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-960x639.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-240x160.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-375x250.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-520x346.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how recent political developments have changed the story at the border\u003c/strong>\u003c/p>\n\u003cp>Having covered this story for the last 10 years, I’ve seen a lot along the way. But in this case, this last week, it was different because I knew that what happened after these pictures were taken was going to be something very different. Most of us here had heard the news that the [Trump] administration had planned to separate families. And these people [coming across the border] really had no idea about this news. And it was hard to take these pictures, knowing what was coming next.\u003c/p>\n\u003cfigure id=\"attachment_13835492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe\" alt=\"Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13835492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-160x108.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-768x521.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1020x692.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1200x814.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1920x1302.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1180x800.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-960x651.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-240x163.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-375x254.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-520x353.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On what Border Patrol officials say about this new policy\u003c/strong>\u003c/p>\n\u003cp>I think with Border Patrol agents, it’s all on an individual basis. Some of them are very supportive of President Trump’s policies and others probably a little bit less so.\u003c/p>\n\u003cp>And I think it’s important to note that the laws have not changed since President Trump came into office. It’s really \u003ca href=\"https://www.npr.org/2018/05/29/615211215/fact-check-are-democrats-responsible-for-dhs-separating-children-from-their-pare\">the administration’s policies that have changed\u003c/a>. In the past, most families who sought political asylum would be processed and then released, pending a court date in the future. And, of course, that policy has changed in recent months, and we’re seeing the results of that now.\u003c/p>\n\u003cfigure id=\"attachment_13835493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe\" alt=\"A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer.\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13835493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-160x109.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-768x525.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1020x697.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1200x820.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1920x1312.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1180x806.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-960x656.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-240x164.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-375x256.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-520x355.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how this story has affected him \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a photojournalist, it’s my role to keep going, even when it’s hard. But as a father — and I have a toddler myself — it was very difficult to see what was happening in front of my lens and thinking what it would be like for my kids to be separated from me. \u003c/p>\n\u003cfigure id=\"attachment_13835507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg\" alt=\"U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1020x679.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1200x798.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-960x639.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-520x346.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore.jpeg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas. \u003ccite>(John Moore/Getty Images)\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=%27It+Was+Hard+To+Take+These+Pictures%2C+Knowing+What+Was+Coming+Next%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "John Moore describes photographing the distressed Honduran toddler, whose mother was being searched by U.S. Border Patrol. That moment, he says, \"was just part of a very, very long journey\" for them.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, an image breaks through and captures the essence of a story that we’ve all been hearing about. John Moore made one of those images last week, when he photographed a 2-year-old Honduran girl stopped by the Border Patrol after crossing the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620775153/620775154\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The photo is taken from her vantage point. Adults loom over her in the dark out of frame, and she’s crying as her mother is searched.\u003c/p>\n\u003cp>Moore had been photographing Border Patrol agents in the Rio Grande Valley on June 12. On that moonless night, they encountered a group of people seeking to cross the border, most of them families.\u003c/p>\n\u003cp>“I could see the fear on their faces, in their eyes,” says Moore, an award-winning photographer with Getty Images. “As the Border Patrol took people’s names down, I could see a mother holding a young child.”\u003c/p>\n\u003cfigure id=\"attachment_13835491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg\" alt=\"A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O'odham Reservation in Arizona\" width=\"800\" height=\"515\" class=\"size-medium wp-image-13835491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1920x1235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O’odham Reservation in Arizona \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, it was time for the undocumented immigrants to be searched before being transported to a processing center. The Border Patrol asked the mother to set down her daughter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At that moment, the young child broke into tears, and she started wailing,” Moore says. “I took a knee and had very few frames of that moment before it was over.”\u003c/p>\n\u003cp>Moore, who speaks Spanish, was able to talk with them briefly. The mother told him they were from Honduras and had been on the road for a month.\u003c/p>\n\u003cfigure id=\"attachment_13835505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg\" alt=\"A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And I knew at that moment that this point in their journey, which was very emotional for me to see them being detained, for them was just part of a very, very long journey,” says Moore, who has covered the U.S.-Mexico border for a decade.\u003c/p>\n\u003cp>After that, he says, the mother picked up her daughter. They got in a van and were taken away.\u003c/p>\n\u003cp>“I do not know what happened to them. I would very much like to know,” he says. “Ever since I took those pictures, I think about that moment often. And it’s emotional for me every time.”\u003c/p>\n\u003cfigure id=\"attachment_13835494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe\" alt=\"Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-768x511.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1020x679.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1200x799.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1920x1279.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1180x786.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-960x639.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-240x160.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-375x250.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-520x346.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how recent political developments have changed the story at the border\u003c/strong>\u003c/p>\n\u003cp>Having covered this story for the last 10 years, I’ve seen a lot along the way. But in this case, this last week, it was different because I knew that what happened after these pictures were taken was going to be something very different. Most of us here had heard the news that the [Trump] administration had planned to separate families. And these people [coming across the border] really had no idea about this news. And it was hard to take these pictures, knowing what was coming next.\u003c/p>\n\u003cfigure id=\"attachment_13835492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe\" alt=\"Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13835492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-160x108.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-768x521.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1020x692.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1200x814.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1920x1302.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1180x800.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-960x651.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-240x163.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-375x254.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-520x353.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On what Border Patrol officials say about this new policy\u003c/strong>\u003c/p>\n\u003cp>I think with Border Patrol agents, it’s all on an individual basis. Some of them are very supportive of President Trump’s policies and others probably a little bit less so.\u003c/p>\n\u003cp>And I think it’s important to note that the laws have not changed since President Trump came into office. It’s really \u003ca href=\"https://www.npr.org/2018/05/29/615211215/fact-check-are-democrats-responsible-for-dhs-separating-children-from-their-pare\">the administration’s policies that have changed\u003c/a>. In the past, most families who sought political asylum would be processed and then released, pending a court date in the future. And, of course, that policy has changed in recent months, and we’re seeing the results of that now.\u003c/p>\n\u003cfigure id=\"attachment_13835493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe\" alt=\"A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer.\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13835493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-160x109.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-768x525.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1020x697.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1200x820.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1920x1312.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1180x806.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-960x656.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-240x164.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-375x256.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-520x355.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how this story has affected him \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a photojournalist, it’s my role to keep going, even when it’s hard. But as a father — and I have a toddler myself — it was very difficult to see what was happening in front of my lens and thinking what it would be like for my kids to be separated from me. \u003c/p>\n\u003cfigure id=\"attachment_13835507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg\" alt=\"U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1020x679.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1200x798.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-960x639.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-520x346.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore.jpeg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas. \u003ccite>(John Moore/Getty Images)\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=%27It+Was+Hard+To+Take+These+Pictures%2C+Knowing+What+Was+Coming+Next%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "serpentwithfeet Crafts His Own Language for Queer Life",
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"content": "\u003cp>Josiah Wise has face tattoos and a prominent septum piercing that almost touches his lips. Some days he wears bright blue makeup, or colors his facial hair neon pink. He has a collection of dolls and often carries one with him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620364558/620939210\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Equally eclectic is his musical background. He grew up singing in church choir, attended college for classical music, and now is finding his sound at a cross-section of gospel, R&B and avant-garde pop, performing under the name \u003ca href=\"https://www.npr.org/artists/591500094/serpentwithfeet\" target=\"_blank\" rel=\"noopener\">serpentwithfeet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13835422\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg\" alt=\"serpentwithfeet, 'Soil'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13835422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">serpentwithfeet, ‘Soil’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his full-length debut album, \u003cem>soil \u003c/em>(released June 8), he looks back to the sounds of his religious upbringing while crafting language to express living as a queer black person in the present. Wise was closeted growing up — partially to avoid conflict, he says, but mainly because he didn’t have the language to express himself.\u003c/p>\n\u003cp>“Me being inconspicuous growing up, or people around me maybe not being comfortable, was because I didn’t know what was going on,” he says. “I didn’t know how to talk about how I was feeling.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wise says he wanted to be able to have a full conversation about the way he felt, not just about sex or attraction: “It just needed to be a full conversation, because my day is a queer day. I eat breakfast queer. I walk queer. I think that takes time for a young person.”\u003c/p>\n\u003cp>As he’s found his voice, others have taken notice. \u003ca href=\"https://www.npr.org/artists/15191158/bjork\">Bjork\u003c/a> featured him on a \u003ca href=\"https://open.spotify.com/album/08G1xcaXGSR4rywf6DsqAH\">remix \u003c/a>of her song “Blissing Me” last year, and he toured as an opener for \u003ca href=\"https://www.npr.org/artists/14866307/grizzly-bear\">Grizzly Bear\u003c/a>. With a sonic semblance to peers like \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a>, \u003ca href=\"https://www.npr.org/artists/186483722/thundercat\">Thundercat\u003c/a> and \u003ca href=\"https://www.npr.org/artists/537778695/moses-sumney\">Moses Sumney\u003c/a>, Wise is positioning himself within the ranks of neo-soul staples.\u003c/p>\n\u003cp>Wise spoke about the musical and emotional road to the creation of \u003cem>soil\u003c/em> with NPR’s Rachel Martin. Hear their conversation at the audio link.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Emily Abshire contributed to this story.\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=serpentwithfeet+Crafts+His+Own+Language+For+Queer+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Josiah Wise has face tattoos and a prominent septum piercing that almost touches his lips. Some days he wears bright blue makeup, or colors his facial hair neon pink. He has a collection of dolls and often carries one with him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620364558/620939210\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Equally eclectic is his musical background. He grew up singing in church choir, attended college for classical music, and now is finding his sound at a cross-section of gospel, R&B and avant-garde pop, performing under the name \u003ca href=\"https://www.npr.org/artists/591500094/serpentwithfeet\" target=\"_blank\" rel=\"noopener\">serpentwithfeet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13835422\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg\" alt=\"serpentwithfeet, 'Soil'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13835422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">serpentwithfeet, ‘Soil’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his full-length debut album, \u003cem>soil \u003c/em>(released June 8), he looks back to the sounds of his religious upbringing while crafting language to express living as a queer black person in the present. Wise was closeted growing up — partially to avoid conflict, he says, but mainly because he didn’t have the language to express himself.\u003c/p>\n\u003cp>“Me being inconspicuous growing up, or people around me maybe not being comfortable, was because I didn’t know what was going on,” he says. “I didn’t know how to talk about how I was feeling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wise says he wanted to be able to have a full conversation about the way he felt, not just about sex or attraction: “It just needed to be a full conversation, because my day is a queer day. I eat breakfast queer. I walk queer. I think that takes time for a young person.”\u003c/p>\n\u003cp>As he’s found his voice, others have taken notice. \u003ca href=\"https://www.npr.org/artists/15191158/bjork\">Bjork\u003c/a> featured him on a \u003ca href=\"https://open.spotify.com/album/08G1xcaXGSR4rywf6DsqAH\">remix \u003c/a>of her song “Blissing Me” last year, and he toured as an opener for \u003ca href=\"https://www.npr.org/artists/14866307/grizzly-bear\">Grizzly Bear\u003c/a>. With a sonic semblance to peers like \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a>, \u003ca href=\"https://www.npr.org/artists/186483722/thundercat\">Thundercat\u003c/a> and \u003ca href=\"https://www.npr.org/artists/537778695/moses-sumney\">Moses Sumney\u003c/a>, Wise is positioning himself within the ranks of neo-soul staples.\u003c/p>\n\u003cp>Wise spoke about the musical and emotional road to the creation of \u003cem>soil\u003c/em> with NPR’s Rachel Martin. Hear their conversation at the audio link.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Emily Abshire contributed to this story.\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=serpentwithfeet+Crafts+His+Own+Language+For+Queer+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jermaine Durpri is a Songwriters Hall of Famer and We Have the Playlist to Prove It",
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"content": "\u003cp>Jermaine Dupri is a hip-hop and R&B hitmaker. His songs have sold millions of copies, topped music charts throughout the 1990s and early 2000s and helped launch the careers of \u003ca href=\"https://www.npr.org/tags/180505108/kris-kross\" target=\"_blank\" rel=\"noopener\">Kriss Kross\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\" target=\"_blank\" rel=\"noopener\">Mariah Carey\u003c/a> and many others. Now, the 30-year music veteran has been inducted into \u003ca href=\"https://www.songhall.org/\">The Songwriters Hall of Fame\u003c/a>. Dupri is only the second hip-hop artist to be so honored. (\u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a> was \u003ca href=\"https://www.npr.org/sections/therecord/2017/02/22/516641140/jay-z-is-the-first-rapper-to-be-elected-to-songwriters-hall-of-fame\" target=\"_blank\" rel=\"noopener\">inducted\u003c/a> last year.) “To be mentioned in the same breath as people I admire means everything to me,” Dupri says, citing Motown Records founder Berry Gordy Jr. as source of inspiration.\u003c/p>\n\u003cp>According to Dupri, the key to writing a hit song is to focus on the hook as the driving force. That’s what he did when penning his first big record, Kriss Kross’s 1992 breakout single “Jump.” Dupri says he wrote the song in 30 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=010KyIQjkTk\u003c/p>\n\u003cp>“It’s a thing that happens where you start writing a song, it’s a burning feeling that you have to finish it. Once I had the first verse, you don’t want to hear the song incomplete,” he explains. “I’ve written other songs just as fast, but that was the first time I had that feeling.”\u003c/p>\n\u003cp>For Dupri, this Hall of Fame honor is special because it highlights a talent he feels he doesn’t get enough credit for. He remembers being at a pool in Mexico and watching a pool full of people sing Usher’s “You Make Me Wanna…” never realizing he wrote it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bQRzrnH6_HY\u003c/p>\n\u003cp>“Some people see Jermaine Dupri as a producer and they don’t really know what the songwriting skills are,” he says. “That’s why I’m so proud about this induction because it makes you pay attention to me writing songs and sitting down and thinking of these stories that people fall in love with.” \u003c/p>\n\u003cp>In honor of his induction, enjoy a NPR Music playlist of Jermaine Dupri’s hits from the ’90s until now. \u003c/p>\n\u003cp>\u003cem>Web editor Sidney Madden contributed to this story.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A2QL4gjl6kiepLkcSsPqq3B\" width=\"600\" height=\"480\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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=Jermaine+Durpri+Is+A+Songwriters+Hall+Of+Famer+And+We+Have+The+Playlist+To+Prove+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jermaine Dupri is a hip-hop and R&B hitmaker. His songs have sold millions of copies, topped music charts throughout the 1990s and early 2000s and helped launch the careers of \u003ca href=\"https://www.npr.org/tags/180505108/kris-kross\" target=\"_blank\" rel=\"noopener\">Kriss Kross\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\" target=\"_blank\" rel=\"noopener\">Mariah Carey\u003c/a> and many others. Now, the 30-year music veteran has been inducted into \u003ca href=\"https://www.songhall.org/\">The Songwriters Hall of Fame\u003c/a>. Dupri is only the second hip-hop artist to be so honored. (\u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a> was \u003ca href=\"https://www.npr.org/sections/therecord/2017/02/22/516641140/jay-z-is-the-first-rapper-to-be-elected-to-songwriters-hall-of-fame\" target=\"_blank\" rel=\"noopener\">inducted\u003c/a> last year.) “To be mentioned in the same breath as people I admire means everything to me,” Dupri says, citing Motown Records founder Berry Gordy Jr. as source of inspiration.\u003c/p>\n\u003cp>According to Dupri, the key to writing a hit song is to focus on the hook as the driving force. That’s what he did when penning his first big record, Kriss Kross’s 1992 breakout single “Jump.” Dupri says he wrote the song in 30 minutes.\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/010KyIQjkTk'\n title='//www.youtube.com/embed/010KyIQjkTk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s a thing that happens where you start writing a song, it’s a burning feeling that you have to finish it. Once I had the first verse, you don’t want to hear the song incomplete,” he explains. “I’ve written other songs just as fast, but that was the first time I had that feeling.”\u003c/p>\n\u003cp>For Dupri, this Hall of Fame honor is special because it highlights a talent he feels he doesn’t get enough credit for. He remembers being at a pool in Mexico and watching a pool full of people sing Usher’s “You Make Me Wanna…” never realizing he wrote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bQRzrnH6_HY'\n title='//www.youtube.com/embed/bQRzrnH6_HY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Some people see Jermaine Dupri as a producer and they don’t really know what the songwriting skills are,” he says. “That’s why I’m so proud about this induction because it makes you pay attention to me writing songs and sitting down and thinking of these stories that people fall in love with.” \u003c/p>\n\u003cp>In honor of his induction, enjoy a NPR Music playlist of Jermaine Dupri’s hits from the ’90s until now. \u003c/p>\n\u003cp>\u003cem>Web editor Sidney Madden contributed to this story.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A2QL4gjl6kiepLkcSsPqq3B\" width=\"600\" height=\"480\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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=Jermaine+Durpri+Is+A+Songwriters+Hall+Of+Famer+And+We+Have+The+Playlist+To+Prove+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Unidentified Thief Caught on Camera Stealing $45,000 Banksy Print from Exhibit",
"headTitle": "Unidentified Thief Caught on Camera Stealing $45,000 Banksy Print from Exhibit | KQED",
"content": "\u003cp>Right around dawn Sunday, an unidentified person stole into an art exhibition space in Toronto. Encased in a sweatshirt, with hands in armpits and face obscured by a camouflage cap, the dark-dressed lurker slinked into a room lined with works by Banksy.\u003c/p>\n\u003cp>Then, in the surveillance video \u003ca href=\"https://youtu.be/P4zBPo1L-gw\" blank=\"_blank\">released Thursday\u003c/a> by Toronto police, the person ducks into the camera’s blind spot and emerges with artwork in hand. The thief then quickly carries it out the door.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P4zBPo1L-gw\u003c/p>\n\u003cp>The apparently burgled work is a print of a piece known as \u003cem>Trolley Hunters\u003c/em>, which had been featured in \u003ca href=\"https://www.banksyexhibit.com/\" blank=\"_blank\">The Art of Banksy\u003c/a>, an unauthorized exhibit of the street artist’s work.\u003c/p>\n\u003cp>Now, law enforcement is \u003ca href=\"http://www.torontopolice.on.ca/newsreleases/41343\" target=\"_blank\" rel=\"noopener\">seeking assistance\u003c/a> in finding a man “described as wearing glasses, black jacket, green camouflage baseball hat, blue jeans rolled at the cuff, grey running shoes, glasses.” They say the stolen work is worth about $45,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It bears mentioning that this isn’t the first time the Toronto exhibit — billed as “the largest Banksy exhibit ever assembled!” — has drawn widespread attention of the less-than-positive variety.\u003c/p>\n\u003cp>The show features privately owned art curated by Banksy’s former agent and collectively valued at over $35 million, according to organizers. It displays more than 80 works.\u003c/p>\n\u003cp>The originals tend to be graffiti on building facades, seen for free by passers-by, rather than pictures hung from studio walls. Meanwhile, a general-admission ticket to attend the exhibit costs about $25.\u003c/p>\n\u003cp>And that discrepancy was \u003ca href=\"https://twitter.com/i/moments/1007235669658398720\" target=\"_blank\" rel=\"noopener\">not lost\u003c/a> on \u003ca href=\"https://nowtoronto.com/culture/art-and-design/art-of-banksy-exhibit-toronto/\" target=\"_blank\" rel=\"noopener\">some skeptics\u003c/a>, many of whom have pointed out that one of the artist’s prevailing themes — seen most vividly in the 2010 Banksy film \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126037446\" target=\"_blank\" rel=\"noopener\">Exit Through the Gift Shop\u003c/a> — has been the lambasting of the art world’s commercialization and cults of celebrity.\u003c/p>\n\u003cp>Just this week, in fact, Banksy spoke on this point, talking about submitting work to a Royal Academy exhibition under an anagrammed pseudonym and getting refused.\u003c/p>\n\u003cp>“Then a month later I got a mail from the co-ordinator Grayson Perry asking me to submit something so I sent it again,” Banksy said \u003ca href=\"https://www.instagram.com/p/Bj47OxbBUNj/?hl=en&taken-by=banksy\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. “It’s now hanging in gallery 3.”\u003c/p>\n\u003cp>Partly for that reason, perhaps, and partly \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=UgwZUK02qHWKOoGadUB4AaABAg\" target=\"_blank\" rel=\"noopener\">out of a paranoia\u003c/a> that seems suitable when speaking of Banksy, \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugxym6xoLPE7wHEqiTR4AaABAg\" target=\"_blank\" rel=\"noopener\">several commenters\u003c/a> on the police video and \u003ca href=\"https://twitter.com/alexbierk/status/1007080492548677633\" target=\"_blank\" rel=\"noopener\">elsewhere\u003c/a> on social media \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugz4ciClDf0UXVZ9_m94AaABAg\" target=\"_blank\" rel=\"noopener\">appear to have agreed\u003c/a> on a \u003ca href=\"https://twitter.com/laurenonizzle/status/1007378965399515141\" target=\"_blank\" rel=\"noopener\">single culprit\u003c/a> for the \u003c/p>\n\u003cp>https://twitter.com/laurenonizzle/status/1007378965399515141theft: Banksy himself.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbc.ca/news/canada/toronto/banksy-art-reported-stolen-1.4706015\" target=\"_blank\" rel=\"noopener\">According to the Canadian Broadcasting Corp.\u003c/a>, though, the show’s publicist has “denied any suggestion the surveillance video was fake or a publicity stunt. She said the thief may have taken only one Banksy piece out of fear of discovery.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Toronto police are taking the matter very seriously and are looking for suspects. \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=Unidentified+Thief+Caught+On+Camera+Stealing+%2445%2C000+Banksy+Print+From+Exhibit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Toronto police say 'Trolley Hunters' was stolen from the unauthorized show Sunday — and they've released surveillance video backing it up. That hasn't quieted conspiracy theorists, though.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right around dawn Sunday, an unidentified person stole into an art exhibition space in Toronto. Encased in a sweatshirt, with hands in armpits and face obscured by a camouflage cap, the dark-dressed lurker slinked into a room lined with works by Banksy.\u003c/p>\n\u003cp>Then, in the surveillance video \u003ca href=\"https://youtu.be/P4zBPo1L-gw\" blank=\"_blank\">released Thursday\u003c/a> by Toronto police, the person ducks into the camera’s blind spot and emerges with artwork in hand. The thief then quickly carries it out the door.\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/P4zBPo1L-gw'\n title='//www.youtube.com/embed/P4zBPo1L-gw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The apparently burgled work is a print of a piece known as \u003cem>Trolley Hunters\u003c/em>, which had been featured in \u003ca href=\"https://www.banksyexhibit.com/\" blank=\"_blank\">The Art of Banksy\u003c/a>, an unauthorized exhibit of the street artist’s work.\u003c/p>\n\u003cp>Now, law enforcement is \u003ca href=\"http://www.torontopolice.on.ca/newsreleases/41343\" target=\"_blank\" rel=\"noopener\">seeking assistance\u003c/a> in finding a man “described as wearing glasses, black jacket, green camouflage baseball hat, blue jeans rolled at the cuff, grey running shoes, glasses.” They say the stolen work is worth about $45,000. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It bears mentioning that this isn’t the first time the Toronto exhibit — billed as “the largest Banksy exhibit ever assembled!” — has drawn widespread attention of the less-than-positive variety.\u003c/p>\n\u003cp>The show features privately owned art curated by Banksy’s former agent and collectively valued at over $35 million, according to organizers. It displays more than 80 works.\u003c/p>\n\u003cp>The originals tend to be graffiti on building facades, seen for free by passers-by, rather than pictures hung from studio walls. Meanwhile, a general-admission ticket to attend the exhibit costs about $25.\u003c/p>\n\u003cp>And that discrepancy was \u003ca href=\"https://twitter.com/i/moments/1007235669658398720\" target=\"_blank\" rel=\"noopener\">not lost\u003c/a> on \u003ca href=\"https://nowtoronto.com/culture/art-and-design/art-of-banksy-exhibit-toronto/\" target=\"_blank\" rel=\"noopener\">some skeptics\u003c/a>, many of whom have pointed out that one of the artist’s prevailing themes — seen most vividly in the 2010 Banksy film \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126037446\" target=\"_blank\" rel=\"noopener\">Exit Through the Gift Shop\u003c/a> — has been the lambasting of the art world’s commercialization and cults of celebrity.\u003c/p>\n\u003cp>Just this week, in fact, Banksy spoke on this point, talking about submitting work to a Royal Academy exhibition under an anagrammed pseudonym and getting refused.\u003c/p>\n\u003cp>“Then a month later I got a mail from the co-ordinator Grayson Perry asking me to submit something so I sent it again,” Banksy said \u003ca href=\"https://www.instagram.com/p/Bj47OxbBUNj/?hl=en&taken-by=banksy\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. “It’s now hanging in gallery 3.”\u003c/p>\n\u003cp>Partly for that reason, perhaps, and partly \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=UgwZUK02qHWKOoGadUB4AaABAg\" target=\"_blank\" rel=\"noopener\">out of a paranoia\u003c/a> that seems suitable when speaking of Banksy, \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugxym6xoLPE7wHEqiTR4AaABAg\" target=\"_blank\" rel=\"noopener\">several commenters\u003c/a> on the police video and \u003ca href=\"https://twitter.com/alexbierk/status/1007080492548677633\" target=\"_blank\" rel=\"noopener\">elsewhere\u003c/a> on social media \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugz4ciClDf0UXVZ9_m94AaABAg\" target=\"_blank\" rel=\"noopener\">appear to have agreed\u003c/a> on a \u003ca href=\"https://twitter.com/laurenonizzle/status/1007378965399515141\" target=\"_blank\" rel=\"noopener\">single culprit\u003c/a> for the \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>theft: Banksy himself.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbc.ca/news/canada/toronto/banksy-art-reported-stolen-1.4706015\" target=\"_blank\" rel=\"noopener\">According to the Canadian Broadcasting Corp.\u003c/a>, though, the show’s publicist has “denied any suggestion the surveillance video was fake or a publicity stunt. She said the thief may have taken only one Banksy piece out of fear of discovery.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Toronto police are taking the matter very seriously and are looking for suspects. \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=Unidentified+Thief+Caught+On+Camera+Stealing+%2445%2C000+Banksy+Print+From+Exhibit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "in-pixars-first-female-directed-short-a-dumpling-child-fills-an-empty-nest",
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"content": "\u003cp>Moviegoers sitting down to see \u003cem>Incredibles 2\u003c/em> are in for a tasty treat in the form of an animated short called \u003cem>Bao\u003c/em>. It tells the story of an empty nester who discovers joy — and sorrow — when a steamed bun she makes comes to life. \u003c/p>\n\u003cp>The story is pulled from the childhood of Domee Shi, who wrote and directed the Pixar film. Shi was born in China and raised in Toronto. She started working at Pixar as an intern in 2011, and now she’s the first woman to direct a Pixar short. \u003c/p>\n\u003cp>Pixar and the larger animation industry have been criticized for shutting female animators out of top jobs, but Shi says that culture is changing. \u003c/p>\n\u003cp>“You’re just seeing this gradual shift in the industry because, before, animation was predominantly white and male, but now in animation schools all over the country enrollment is now over 50 percent female. … I think just more and more girls are just getting into animation. And I hope that we’re going to see those numbers be reflected in the industry and not just in the animation schools.”\u003c/p>\n\u003cp>(NPR interviewed Shi before the announcement that Pixar’s co-founder, John Lasseter, would be \u003ca href=\"https://www.nytimes.com/2018/06/08/business/media/john-lasseter-leaves-disney.html\">leaving the company\u003c/a>. Lasseter had been absent \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/21/565801354/pixars-john-lasseter-takes-leave-of-absence-after-harassment-allegations\">since November\u003c/a>, when allegations of sexual harrassment surfaced.)\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On going from an intern to a writer-director in just seven years\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I feel so honored and humbled to be in this position, for Pixar to have liked this weird idea I pitched to them and to get behind it. Yeah, I just think it was a combination of just timing and really awesome support from really cool people, and embracing my weirdness and not being afraid to show it. Because at first I was kind of hesitant to pitch this idea, but then [Pixar veteran] Pete Docter — who has been kind of my mentor figure this whole time, I worked with him on \u003cem>Inside Out\u003c/em> — he was really an early supporter of the short, and he encouraged me to stick to my guns to pitch the original version of the short. And I’m so glad I did because that was the reason why Pixar chose that idea.\u003c/p>\n\u003cp>\u003cstrong>On how she came up with the idea for \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I think I was probably really hungry one night, and I’ve always been a huge fan of classic fairy tales. And I wanted to do like a Chinese twist on “The Little Gingerbread Man” with a Chinese dumpling, instead of a little cookie, that comes to life. And I drew a lot of inspiration also from my own personal life. I’m an only child, and I feel like ever since I was little my Chinese mom and dad have always treated me like their precious little dumpling.\u003c/p>\n\u003cp>\u003cstrong>On the short’s rather extreme ending (which we won’t give away)\u003c/strong>\u003c/p>\n\u003cp>I feel like any time you look at something really cute — like, even if it’s like a baby or a puppy or a kitten — you think it’s so cute, and it’s almost awakened something violent and animalistic in you. Like, you want to eat it up or you just want to consume it or just squeeze it to death or something. …\u003c/p>\n\u003cp>And also, growing up, my mom would often hold me close and be like, “Oh, I wish I could put you back in my stomach so I knew exactly where you were at all times.” And like, “Oh, mom, that’s creepy, but sweet.” … I just want to explore that feeling more — like, why does she want to do that to me?\u003c/p>\n\u003cp>\u003cstrong>On how her mom helped Pixar animators with their research\u003c/strong>\u003c/p>\n\u003cp>We brought her in twice to do dumpling-making classes for the whole crew. Yeah, and it was great. Like, we got the animators and effects artists right in there, and they studied my mom’s techniques and they poked the dough and smelled the pork filling. … It was really important for us to get every single detail right … so we can put it on screen.\u003c/p>\n\u003cp>\u003cstrong>On what her mom thought of \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She saw it … for the first time at the wrap party and she really liked it. I think she got emotional. She’s like me, she is very like subtle with her emotions. But I definitely took a peek to my left during the short and I think I saw her eyes getting misty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Melisa Goh produced and edited this interview for broadcast. Nicole Cohen 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=In+Pixar%27s+First+Female-Directed+Short%2C+A+Dumpling+Child+Fills+An+Empty+Nest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moviegoers sitting down to see \u003cem>Incredibles 2\u003c/em> are in for a tasty treat in the form of an animated short called \u003cem>Bao\u003c/em>. It tells the story of an empty nester who discovers joy — and sorrow — when a steamed bun she makes comes to life. \u003c/p>\n\u003cp>The story is pulled from the childhood of Domee Shi, who wrote and directed the Pixar film. Shi was born in China and raised in Toronto. She started working at Pixar as an intern in 2011, and now she’s the first woman to direct a Pixar short. \u003c/p>\n\u003cp>Pixar and the larger animation industry have been criticized for shutting female animators out of top jobs, but Shi says that culture is changing. \u003c/p>\n\u003cp>“You’re just seeing this gradual shift in the industry because, before, animation was predominantly white and male, but now in animation schools all over the country enrollment is now over 50 percent female. … I think just more and more girls are just getting into animation. And I hope that we’re going to see those numbers be reflected in the industry and not just in the animation schools.”\u003c/p>\n\u003cp>(NPR interviewed Shi before the announcement that Pixar’s co-founder, John Lasseter, would be \u003ca href=\"https://www.nytimes.com/2018/06/08/business/media/john-lasseter-leaves-disney.html\">leaving the company\u003c/a>. Lasseter had been absent \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/21/565801354/pixars-john-lasseter-takes-leave-of-absence-after-harassment-allegations\">since November\u003c/a>, when allegations of sexual harrassment surfaced.)\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On going from an intern to a writer-director in just seven years\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I feel so honored and humbled to be in this position, for Pixar to have liked this weird idea I pitched to them and to get behind it. Yeah, I just think it was a combination of just timing and really awesome support from really cool people, and embracing my weirdness and not being afraid to show it. Because at first I was kind of hesitant to pitch this idea, but then [Pixar veteran] Pete Docter — who has been kind of my mentor figure this whole time, I worked with him on \u003cem>Inside Out\u003c/em> — he was really an early supporter of the short, and he encouraged me to stick to my guns to pitch the original version of the short. And I’m so glad I did because that was the reason why Pixar chose that idea.\u003c/p>\n\u003cp>\u003cstrong>On how she came up with the idea for \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I think I was probably really hungry one night, and I’ve always been a huge fan of classic fairy tales. And I wanted to do like a Chinese twist on “The Little Gingerbread Man” with a Chinese dumpling, instead of a little cookie, that comes to life. And I drew a lot of inspiration also from my own personal life. I’m an only child, and I feel like ever since I was little my Chinese mom and dad have always treated me like their precious little dumpling.\u003c/p>\n\u003cp>\u003cstrong>On the short’s rather extreme ending (which we won’t give away)\u003c/strong>\u003c/p>\n\u003cp>I feel like any time you look at something really cute — like, even if it’s like a baby or a puppy or a kitten — you think it’s so cute, and it’s almost awakened something violent and animalistic in you. Like, you want to eat it up or you just want to consume it or just squeeze it to death or something. …\u003c/p>\n\u003cp>And also, growing up, my mom would often hold me close and be like, “Oh, I wish I could put you back in my stomach so I knew exactly where you were at all times.” And like, “Oh, mom, that’s creepy, but sweet.” … I just want to explore that feeling more — like, why does she want to do that to me?\u003c/p>\n\u003cp>\u003cstrong>On how her mom helped Pixar animators with their research\u003c/strong>\u003c/p>\n\u003cp>We brought her in twice to do dumpling-making classes for the whole crew. Yeah, and it was great. Like, we got the animators and effects artists right in there, and they studied my mom’s techniques and they poked the dough and smelled the pork filling. … It was really important for us to get every single detail right … so we can put it on screen.\u003c/p>\n\u003cp>\u003cstrong>On what her mom thought of \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She saw it … for the first time at the wrap party and she really liked it. I think she got emotional. She’s like me, she is very like subtle with her emotions. But I definitely took a peek to my left during the short and I think I saw her eyes getting misty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Melisa Goh produced and edited this interview for broadcast. Nicole Cohen 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=In+Pixar%27s+First+Female-Directed+Short%2C+A+Dumpling+Child+Fills+An+Empty+Nest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nothing much happens in \u003cem>Summer 1993\u003c/em>, the film Spain submitted for consideration in the best foreign film category of the most recent Academy Awards. Nothing much, unless you count the fits and starts of a little girl’s inchoate grief over the death of her mother.\u003c/p>\n\u003cp>That’s huge, and filmmaker Carla Simon is in delicately assured command of her material, not least because her mother was one of thousands of Spaniards who died of AIDS in the early 1990s — just before anti-retroviral medications became available — leaving Simon an orphan at six years old.\u003c/p>\n\u003cp>But though the movie is set during the crisis it’s neither an AIDS movie nor a facile pity-party for Frida (Laia Artegas), a Barcelona urchin with wary eyes in a head full of wild black curls. Frida has never heard of AIDS — all she knows is that her mother is gone and she is dispatched to the Catalan countryside to live with her mother’s brother (David Verdaguer), his wife (Bruna Cusi) and her younger cousin Anna (Paula Robles), Frida doesn’t understand why a doctor periodically sticks needles into her arm. She’s not sure why everyone is tiptoeing around her and being so nice. She’s not aware of how she feels about sharing the limelight with another child, especially one as manifestly safe and happy as little Anna appears to be. She certainly doesn’t get why she needs a new mom, or why there’s no answer when she leaves night gifts for her own mother with a statue of the Virgin Mary.\u003c/p>\n\u003cp>https://youtu.be/Bb1NMc-_KaU\u003c/p>\n\u003cp>There will be other angles, but mostly this is a kid’s eye view of the collapse of her world as she knows it, an enormously difficult thing for a director to pull off when your two leads, who appear in almost every frame of the movie, are six and four years old respectively. When people talk about how great small children are in a film, what’s really meant is how well they’re cast, or how well they follow instructions, or how skilled the director is at getting them to be themselves in ways that meet the requirements of plot or character. All of the above pertain here: As Frida, Laia Artigas is a mini Anna Magnani with the tough, assessing watchfulness of a city street kid, while chubby, blue-eyed Paula Robles is all open innocence as country girl Anna, who’s as delighted to welcome a potential playmate as the guest is first bewildered and then inclined to pull senior rank.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Frida doesn’t talk much in this intimately visual film, which takes the measure of her inner turmoil in the Catalan villagers’ frightening (to her) ceremonies, in the terror of venturing out alone at night with nothing but ambient noise to guide her wanderings, in the cautious but happy discovery of where eggs really come from. Frida is quiet and co-operative to start with. Her uncle and aunt are lovingly attentive; her grandparents visit every week. But a small bomb ticks away inside Frida that neither she nor her hosts know what to do with, and soon she starts acting out in ways that range from annoying to dangerous.\u003c/p>\n\u003cp>None of this is played to tug directly at our heartstrings. Like many children (and adults) in trouble they can’t grasp let alone escape, Frida becomes a pill. Simon never overplays her hand: \u003cem>Summer 1993\u003c/em> carries us from moment to unpredictable moment, placing us inside Frida’s confusion, her efforts to gain control of her feelings and her environment, and the fleeting bursts of happiness that come and go without warning. The result is a kind of grief procedural, its focus sharpened by the lush greens of the Catalan landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s an ending but no climax in \u003cem>Summer 1993\u003c/em>. In place of closure, so rarely as elusive in art as it is in life, Simon unobtrusively opens up the perspective to the suppressed frustration and anger of those who, even as they welcome Frida with open arms, must grope their way through the radical reshaping of family that attends her sudden arrival. Frida’s grief has no schedules, just a gradual, fitful abatement of her pain, which Simon has made so palpable that when a happier girl finally feels confident enough to ask about her “previous Mum,” it’s at once an occasion for a massive exhale, and a dagger to the heart. \u003c/p>\n\n",
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"content": "\u003cp>Summer hasn’t even officially begun yet, and it’s already been a disorienting season. The president is \u003ca href=\"http://www.foxnews.com/politics/2018/06/12/trump-praises-kim-jong-un-as-strong-funny-smart-and-great-negotiator-in-hannity-interview.html\" target=\"_blank\" rel=\"noopener\">complimenting a North Korean leader\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/06/09/politics/trump-justin-trudeau-g7-communique/index.html\" target=\"_blank\" rel=\"noopener\">lambasting one from Canada\u003c/a>. Raccoons are \u003ca href=\"https://www.npr.org/2018/06/12/619245875/its-a-bird-it-s-a-plane-or-a-raccoon-climbing-a-st-paul-skyscraper\" target=\"_blank\" rel=\"noopener\">scaling 25-story buildings\u003c/a>, ostensibly for our amusement. And apparently \u003ca href=\"https://www.npr.org/artists/14953534/ryan-adams\" target=\"_blank\" rel=\"noopener\">Ryan Adams\u003c/a>, no longer content to serve as one of America’s most celebrated singer-songwriters, is doing the local weather on a Denver TV station, fulfilling what he says is a longtime dream.\u003c/p>\n\u003cp>While in Denver to play a show at the Red Rocks Amphitheater, Adams cooked up an arrangement with a local TV station wherein he’d give Wednesday’s weather report and write and record a song to be played on air. First, watch the animated video that accompanies the new original composition “Denver7 (Piece of Heaven),” which… okay, fair warning, this isn’t the \u003cem>best\u003c/em> song Adams has ever written.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDuWxOeseXw\u003c/p>\n\u003cp>Naturally, Denver7 was only too happy to live up to its end of the bargain, so Adams donned a Batman T-shirt and some flannel, appeared in a short interview, shouted out the movie \u003cem>Twister\u003c/em> (for inspiring his love of the weather), and gave the station’s Wednesday-evening weather report in front of a green screen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=REAXSEtqDNg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a first-timer with no formal meteorological training, Adams fared reasonably well, ad-libbing a bit about 10-15 mph winds (“For anybody that’s super into the wind, there you go”) and only occasionally wandering out of the frame entirely. So, yeah, there you go! In the America of June 2018, our enemies are our friends, our friends are our enemies, raccoons are our heroes and Ryan Adams is our weatherman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Best of luck to us all! \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=So+It%27s+Come+To+This%3A+Apparently+Ryan+Adams+Is+A+Weatherman+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer hasn’t even officially begun yet, and it’s already been a disorienting season. The president is \u003ca href=\"http://www.foxnews.com/politics/2018/06/12/trump-praises-kim-jong-un-as-strong-funny-smart-and-great-negotiator-in-hannity-interview.html\" target=\"_blank\" rel=\"noopener\">complimenting a North Korean leader\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/06/09/politics/trump-justin-trudeau-g7-communique/index.html\" target=\"_blank\" rel=\"noopener\">lambasting one from Canada\u003c/a>. Raccoons are \u003ca href=\"https://www.npr.org/2018/06/12/619245875/its-a-bird-it-s-a-plane-or-a-raccoon-climbing-a-st-paul-skyscraper\" target=\"_blank\" rel=\"noopener\">scaling 25-story buildings\u003c/a>, ostensibly for our amusement. And apparently \u003ca href=\"https://www.npr.org/artists/14953534/ryan-adams\" target=\"_blank\" rel=\"noopener\">Ryan Adams\u003c/a>, no longer content to serve as one of America’s most celebrated singer-songwriters, is doing the local weather on a Denver TV station, fulfilling what he says is a longtime dream.\u003c/p>\n\u003cp>While in Denver to play a show at the Red Rocks Amphitheater, Adams cooked up an arrangement with a local TV station wherein he’d give Wednesday’s weather report and write and record a song to be played on air. First, watch the animated video that accompanies the new original composition “Denver7 (Piece of Heaven),” which… okay, fair warning, this isn’t the \u003cem>best\u003c/em> song Adams has ever written.\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/cDuWxOeseXw'\n title='//www.youtube.com/embed/cDuWxOeseXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Naturally, Denver7 was only too happy to live up to its end of the bargain, so Adams donned a Batman T-shirt and some flannel, appeared in a short interview, shouted out the movie \u003cem>Twister\u003c/em> (for inspiring his love of the weather), and gave the station’s Wednesday-evening weather report in front of a green screen.\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/REAXSEtqDNg'\n title='//www.youtube.com/embed/REAXSEtqDNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>D.J. Fontana, the drummer who helped create Elvis Presley’s early, rockabilly sound and who played with him throughout the 1950s on hits like “Heartbreak Hotel” and “Hound Dog,” has died, his wife Karen Fontana confirmed to NPR. Fontana died on Wednesday night in his sleep at the age of 87, while in hospice in Nashville.\u003c/p>\n\u003cp>Fontana was born March 15, 1931 as Dominic Joseph Fontana in Shreveport, Louisiana. In a 1999 \u003ca href=\"https://www.youtube.com/watch?v=RAIYHXG8TVg\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with music producer and filmmaker Dan Griffin, Fontana said that he began playing the drums in high school marching bands, and started really learning about structure and style by listening to recordings of big bands fronted by the likes of Stan Kenton, Woody Herman and the Dorsey Brothers. Later, he began playing with western swing bands and serving as the house drummer for a popular radio program broadcast from Shreveport called \u003cem>The Louisiana Hayride\u003c/em>.\u003c/p>\n\u003cp>When Presley appeared on \u003cem>Hayride\u003c/em> with bassist Bill Black and guitarist Scotty Moore in 1955, Fontana sat in with them — and a few months later, Presley asked Fontana to join his group full-time, taking the band from the three-piece setup assembled by producer Sam Phillips at Sun Records to its four-member lineup. Fontana was the last surviving member of that band, after Bill Black’s death in 1965, Presley’s in 1977 and Moore’s in 2016.\u003c/p>\n\u003cp>Fontana remained with Presley throughout the rest of the 1950s, and was a key contributor during the construction of Presley’s sound, providing an easy groove that evoked both rockabilly and swing, and helped to define hits like “Heartbreak Hotel,” “Don’t Be Cruel,” “Jailhouse Rock” and “Hound Dog.” In all, Fontana recorded more than 400 sides with Presley for RCA Victor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MMmljYkdr-w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Presley turned to movie stardom in the following decade, Fontana began playing as a session musician in Nashville for other artists, though he continued recording with Presley regularly and appeared with him on his 1968 comeback TV special. But when Presley offered a spot for Fontana and Moore in his Las Vegas band in 1969, they both declined. The drummer last met with Presley in the mid-’70s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XLhLeJNugmA\u003c/p>\n\u003cp>In 1997, Fontana linked up with Scotty Moore again to record an album called \u003cem>All the King’s Men\u003c/em>, on which they were joined by artists like Keith Richards of The Rolling Stones and The Band. Fontana and Moore also appeared together on the 2000 album \u003cem>Good Rockin’ Tonight: The Legacy of Sun Records\u003c/em>, backing Paul McCartney on “That’s All Right.”\u003c/p>\n\u003cp>For his sideman work, Fontana was \u003ca href=\"https://www.rockhall.com/inductees/dj-fontana\">inducted\u003c/a> into the Rock and Roll Hall of Fame in 1999. At his induction, Fontana was affable and modest about his contributions. “This is great,” he said at the press conference marking the occasion. “I’ve had so much fun these last few days. It’s a great honor just to be here … I’m glad I got it before I died.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFIojisIjHA\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=Elvis+Presley%27s+Longtime+Drummer%2C+D.J.+Fontana%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>D.J. Fontana, the drummer who helped create Elvis Presley’s early, rockabilly sound and who played with him throughout the 1950s on hits like “Heartbreak Hotel” and “Hound Dog,” has died, his wife Karen Fontana confirmed to NPR. Fontana died on Wednesday night in his sleep at the age of 87, while in hospice in Nashville.\u003c/p>\n\u003cp>Fontana was born March 15, 1931 as Dominic Joseph Fontana in Shreveport, Louisiana. In a 1999 \u003ca href=\"https://www.youtube.com/watch?v=RAIYHXG8TVg\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with music producer and filmmaker Dan Griffin, Fontana said that he began playing the drums in high school marching bands, and started really learning about structure and style by listening to recordings of big bands fronted by the likes of Stan Kenton, Woody Herman and the Dorsey Brothers. Later, he began playing with western swing bands and serving as the house drummer for a popular radio program broadcast from Shreveport called \u003cem>The Louisiana Hayride\u003c/em>.\u003c/p>\n\u003cp>When Presley appeared on \u003cem>Hayride\u003c/em> with bassist Bill Black and guitarist Scotty Moore in 1955, Fontana sat in with them — and a few months later, Presley asked Fontana to join his group full-time, taking the band from the three-piece setup assembled by producer Sam Phillips at Sun Records to its four-member lineup. Fontana was the last surviving member of that band, after Bill Black’s death in 1965, Presley’s in 1977 and Moore’s in 2016.\u003c/p>\n\u003cp>Fontana remained with Presley throughout the rest of the 1950s, and was a key contributor during the construction of Presley’s sound, providing an easy groove that evoked both rockabilly and swing, and helped to define hits like “Heartbreak Hotel,” “Don’t Be Cruel,” “Jailhouse Rock” and “Hound Dog.” In all, Fontana recorded more than 400 sides with Presley for RCA Victor.\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/MMmljYkdr-w'\n title='//www.youtube.com/embed/MMmljYkdr-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Presley turned to movie stardom in the following decade, Fontana began playing as a session musician in Nashville for other artists, though he continued recording with Presley regularly and appeared with him on his 1968 comeback TV special. But when Presley offered a spot for Fontana and Moore in his Las Vegas band in 1969, they both declined. The drummer last met with Presley in the mid-’70s.\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/XLhLeJNugmA'\n title='//www.youtube.com/embed/XLhLeJNugmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, Fontana linked up with Scotty Moore again to record an album called \u003cem>All the King’s Men\u003c/em>, on which they were joined by artists like Keith Richards of The Rolling Stones and The Band. Fontana and Moore also appeared together on the 2000 album \u003cem>Good Rockin’ Tonight: The Legacy of Sun Records\u003c/em>, backing Paul McCartney on “That’s All Right.”\u003c/p>\n\u003cp>For his sideman work, Fontana was \u003ca href=\"https://www.rockhall.com/inductees/dj-fontana\">inducted\u003c/a> into the Rock and Roll Hall of Fame in 1999. At his induction, Fontana was affable and modest about his contributions. “This is great,” he said at the press conference marking the occasion. “I’ve had so much fun these last few days. It’s a great honor just to be here … I’m glad I got it before I died.” \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cFIojisIjHA'\n title='//www.youtube.com/embed/cFIojisIjHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Elvis+Presley%27s+Longtime+Drummer%2C+D.J.+Fontana%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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