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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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"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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"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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"headTitle": "In Lush Catalonia, A Girl Grieves In Her Own Way: ‘Summer 1993’ | KQED",
"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": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/Bb1NMc-_KaU'\n title='//www.youtube.com/embed/Bb1NMc-_KaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"title": "Elvis Presley's Longtime Drummer, D.J. Fontana, Has Died",
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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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"content": "\u003cp>Danny Kirwan, the guitarist who joined Fleetwood Mac at age 18 and played on five of the band’s albums, died Friday in London at age 68. His death was announced by Mick Fleetwood on the group’s \u003ca href=\"https://www.facebook.com/FleetwoodMac/posts/10156505690944138\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>; no cause was given.\u003c/p>\n\u003cp>“Danny was a huge force in our early years … Danny’s true legacy, in my mind, will forever live on in the music he wrote and played so beautifully as a part of the foundation of Fleetwood Mac, that has now endured for over fifty years,” Fleetwood wrote.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dmC5Bt0cCsI\u003c/p>\n\u003cp>Kirwan was born on May 13, 1950 and joined the band in 1968. He appeared on five of Fleetwood Mac’s albums: 1969’s \u003cem>Then Play On\u003c/em> and \u003cem>Blues Jam at Chess\u003c/em>; 1970’s \u003cem>Kiln House\u003c/em>; 1971’s \u003cem>Future Games\u003c/em>; and finally on 1972’s \u003cem>Bare Trees\u003c/em>. In a 2017 interview, Mick Fleetwood recalled Kirwan as a massively important force in the group: “Danny was a quantum leap ahead of us creatively … He is the lost component. In many ways, Danny is a forgotten hero,” he \u003ca href=\"https://web.musicaficionado.com/main.html#!/article/fleetwood_macs_forgotten_hero_by_jimfarber\">told\u003c/a> music critic Jim Farber.\u003c/p>\n\u003cp>Kirwan was fired from the band in 1972, reportedly after an incident in which he and bandmate Bob Welch fought over tuning before a gig. Kirwan reportedly refused to go onstage, smashed his guitar, and then criticized the band’s performance. (“It was the straw that broke the camel’s back,” Fleetwood told Farber.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After leaving Fleetwood Mac, Kirwan issued a few solo projects for DJM Records, but battled mental illness, alcoholism and homelessness. In 1993, after Mick Fleetwood made inquiries about his well-being, the London paper \u003cem>The Independent\u003c/em> and the U.K.’s Missing Persons Bureau \u003ca href=\"https://www.independent.co.uk/news/he-went-his-own-way-to-oblivion-fleetwood-macs-former-guitarist-is-found-a-little-the-worse-for-wear-1511056.html\">tracked him down\u003c/a> in a homeless shelter in London’s West End, where Kirwan had been living for the past four years.\u003c/p>\n\u003cp>In that \u003cem>Independent\u003c/em> interview, Kirwan expressed little resentment towards his former bandmates, and downplayed his contributions to Fleetwood Mac’s sound and ethos. “I was lucky to have played for the band at all,” Kirwan told the British paper. “I just started off following them around, but I could play the guitar a bit and Mick felt sorry for me and put me in. I did it for about four years, to about 1972, but … I couldn’t handle the lifestyle and the women and the traveling.” The guitarist also told the \u003cem>Independent \u003c/em>that he had been functionally homeless since leaving the band.\u003c/p>\n\u003cp>Kirwan was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac in 1998, but he did not show up to the ceremony. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HQ8AcEYTEFY\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=Fleetwood+Mac%27s+%27Forgotten+Hero%2C%27+Guitarist+Danny+Kirwan%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After leaving Fleetwood Mac, Kirwan issued a few solo projects for DJM Records, but battled mental illness, alcoholism and homelessness. In 1993, after Mick Fleetwood made inquiries about his well-being, the London paper \u003cem>The Independent\u003c/em> and the U.K.’s Missing Persons Bureau \u003ca href=\"https://www.independent.co.uk/news/he-went-his-own-way-to-oblivion-fleetwood-macs-former-guitarist-is-found-a-little-the-worse-for-wear-1511056.html\">tracked him down\u003c/a> in a homeless shelter in London’s West End, where Kirwan had been living for the past four years.\u003c/p>\n\u003cp>In that \u003cem>Independent\u003c/em> interview, Kirwan expressed little resentment towards his former bandmates, and downplayed his contributions to Fleetwood Mac’s sound and ethos. “I was lucky to have played for the band at all,” Kirwan told the British paper. “I just started off following them around, but I could play the guitar a bit and Mick felt sorry for me and put me in. I did it for about four years, to about 1972, but … I couldn’t handle the lifestyle and the women and the traveling.” The guitarist also told the \u003cem>Independent \u003c/em>that he had been functionally homeless since leaving the band.\u003c/p>\n\u003cp>Kirwan was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac in 1998, but he did not show up to the ceremony. \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/HQ8AcEYTEFY'\n title='//www.youtube.com/embed/HQ8AcEYTEFY'\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=Fleetwood+Mac%27s+%27Forgotten+Hero%2C%27+Guitarist+Danny+Kirwan%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eight-year-old Yoyoka Soma’s favorite drummer is John Bonham, so for her entry into the 2018 \u003ca href=\"https://hitlikeagirlcontest.com/\" target=\"_blank\" rel=\"noopener\">Hit Like A Girl\u003c/a> drum contest, she covered Bonham’s part on \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin’s\u003c/a> “Good Times Bad Times.”\u003c/p>\n\u003cp>The video, \u003ca href=\"https://vimeo.com/263985244?ref=fb-share&1\" target=\"_blank\" rel=\"noopener\">which features Soma playing along to the 1969 hit\u003c/a>, earned her a spot in the international competition’s final round. She didn’t take home the gold, but she did win our hearts.\u003c/p>\n\u003cp>She absolutely smashes through the song with three foot pedals and polka dot socks putting in bass work. She’s even got the facials and head banging down. And the dampening of the cymbal is a detail only a tenured drummer like herself could add.\u003c/p>\n\u003cp>Soma has been playing drums since the tender age of 2. At 4, she started performing at concerts, and now she’s been on over 100 stages. She’s a member of her family band, Kaneaiyoyoka, where she contributes keyboard and vocals in addition to drums. She even composes her own lyrics and music.\u003c/p>\n\u003cp>“I want to be an artist who can do anything: playing all instruments, recording music, mixing the sound and designing the CD album jackets,” she said in a statement accompanying her entry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She’s even studying English, knowing that future world-wide tours will take her from Japan to all parts of the globe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My dream is to be the best drummer in the world,” she said.\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=Watch+This+8-Year-Old+Girl+Crush+Led+Zeppelin%27s+%27Good+Times+Bad+Times%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight-year-old Yoyoka Soma’s favorite drummer is John Bonham, so for her entry into the 2018 \u003ca href=\"https://hitlikeagirlcontest.com/\" target=\"_blank\" rel=\"noopener\">Hit Like A Girl\u003c/a> drum contest, she covered Bonham’s part on \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin’s\u003c/a> “Good Times Bad Times.”\u003c/p>\n\u003cp>The video, \u003ca href=\"https://vimeo.com/263985244?ref=fb-share&1\" target=\"_blank\" rel=\"noopener\">which features Soma playing along to the 1969 hit\u003c/a>, earned her a spot in the international competition’s final round. She didn’t take home the gold, but she did win our hearts.\u003c/p>\n\u003cp>She absolutely smashes through the song with three foot pedals and polka dot socks putting in bass work. She’s even got the facials and head banging down. And the dampening of the cymbal is a detail only a tenured drummer like herself could add.\u003c/p>\n\u003cp>Soma has been playing drums since the tender age of 2. At 4, she started performing at concerts, and now she’s been on over 100 stages. She’s a member of her family band, Kaneaiyoyoka, where she contributes keyboard and vocals in addition to drums. She even composes her own lyrics and music.\u003c/p>\n\u003cp>“I want to be an artist who can do anything: playing all instruments, recording music, mixing the sound and designing the CD album jackets,” she said in a statement accompanying her entry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She’s even studying English, knowing that future world-wide tours will take her from Japan to all parts of the globe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My dream is to be the best drummer in the world,” she said.\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=Watch+This+8-Year-Old+Girl+Crush+Led+Zeppelin%27s+%27Good+Times+Bad+Times%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show",
"headTitle": "‘Beyond The Streets,’ and Far From Vandalism: Street Art Gets a Massive Show | KQED",
"content": "\u003cp>Outlaws. That’s what they were considered when they spray-painted walls and bombed subway cars with modern-day hieroglyphics. They worked in alleys and train yards, bridges and tunnels. Now, many of them are being celebrated in a massive warehouse near Los Angeles’ Chinatown.\u003c/p>\n\u003cp>The exhibition “\u003ca href=\"https://www.beyondthestreets.com/\">Beyond the Streets\u003c/a>” focuses on the studio work street artists created later in their careers. It has more 40,000-square feet of paintings, murals, photos, installations and even old video games. (NPR gave “Beyond the Streets” a small amount of support as a media partner.)\u003c/p>\n\u003cp>“This is vandalism as contemporary art, or contemporary art as vandalism, depending on how you want to look at it,” says curator Roger Gastman, co-author of \u003cem>The History of American Graffiti\u003c/em>. “Street art has become such a buzzword, and lot of the motivation for doing a show like this was to show who the true artists respected by people inside the culture are.”\u003c/p>\n\u003cfigure id=\"attachment_13834860\" 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/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg\" alt='New York artist Lee Quiñones painted a full-size handball court for \"Beyond the Streets.\"' width=\"800\" height=\"533\" class=\"size-medium wp-image-13834860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New York artist Lee Quiñones painted a full-size handball court for ‘Beyond the Streets.’ \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show includes 100 artists, living and deceased; “risk takers,” Gastman says, whose work connects with and inspires artists today. There are classic works by Keith Haring, TAKI 183, Jenny Holzer, SWOON, Jean-Michel Basquiat and photographers Henry Chalfant and Martha Cooper. There are also newer works by CRASH, FUTURA 2000, LADY PINK and Shepard Fairey.\u003c/p>\n\u003cfigure id=\"attachment_13834861\" 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/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg\" alt=\"Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenny Scharf\u003cstrong> \u003c/strong>has decked out a Day-Glo, black-lit room for this show, and Lee Quiñones has painted a full-size handball court. Some of L.A.’s legends are here too: street gardener/activist Ron Finley constructed one of his outdoor gardens, and tattoo and graffiti artist Mister Cartoon created his own chapel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>“Our art criticizes the art system”\u003c/strong>\u003c/p>\n\u003cp>Then there are the Guerrilla Girls, a collective of artists who hide their faces with gorilla masks. The group formed 33 years ago in New York to protest the lack of women artists in museums and galleries, and the way women are represented in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13834862\" 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/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg\" alt=\"'Beyond the Streets' boasts one of the Guerrilla Girls' most well-known billboards — in Spanish. It translates to "Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female."\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ boasts one of the Guerrilla Girls’ most well-known billboards — in Spanish. It translates to “Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female.” \u003ccite>(Nicole Cohen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plastered the streets with humorous, in-your-face posters, some of which are on display at “Beyond the Streets.” One of their most well-known billboards points out that less than 4 percent of the modern art on display at New York’s Metropolitan Museum of Art was created by women, while 76 percent of the nudes are female. Another huge poster depicts a gorilla head with crazy, spiral zombie eyes. It reads, “If you keep women out, they get resentful.”\u003c/p>\n\u003cfigure id=\"attachment_13834863\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg\" alt='The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled \"guerrilla\" in a doodle.' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled “guerrilla” in a doodle. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founders goes by the pseudonym Käthe Kollwitz, a name borrowed from a \u003ca href=\"https://www.moma.org/artists/3201\" target>German political artist\u003c/a> born in 1867. She says, “Our art criticizes the art system, and we thought this up in the first place because we loved what we saw on the streets of New York: political posters, graffiti, tagging, art on the streets.”\u003c/p>\n\u003cp>Their criticism has gotten their art into major museums around the world. But Kollwitz notes that, ironically, the number of women artists included in “Beyond the Streets” isn’t great.\u003c/p>\n\u003cp>“There have always been issues with women in graffiti art,” she says.\u003c/p>\n\u003cp>\u003cstrong>Red-light district\u003c/strong>\u003c/p>\n\u003cp>Tokyo-born street artist Aiko Nakagawa, who goes by Lady AIKO and AIKO, combines graffiti art techniques with 18th-century Japanese woodblock printing to make large-scale works. For “Beyond the Streets,” AIKO\u003cstrong> \u003c/strong>created a red-light district room filled with erotic, comic book-like images using layered stencils and spray paint. There are signs and billboards advertising peep shows, hostess dancers and a “rub parlor.”\u003c/p>\n\u003cfigure id=\"attachment_13834864\" 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/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg\" alt=\"Left: AIKO's red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she's now based.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13834864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1200x710.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1920x1135.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1180x698.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-960x568.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1.jpg 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: AIKO’s red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she’s now based. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>AIKO\u003cstrong> \u003c/strong>says her images are reminiscent of the old, X-rated Times Square, and Japanese shunga, or erotic art. “People used to draw really sexy stuff in my country, so I’m making this whole section sexual and pornographic,” she says. “But also it’s more about women. You see [in the work] more sexual energy from women than men. My red-light district is more about how women want to have good time. We also want to enjoy some sexuality.”\u003c/p>\n\u003cp>AIKO says she had a depressing childhood in Tokyo, and began making art as an escape from being misunderstood. In her 20s, she moved to New York without knowing anyone or speaking English. There, she worked as a studio apprentice for artist Takashi Murakami, and began wheat pasting images of herself all over the city. She helped start the artist collective FAILE and collaborated with the anonymous artist Banksy on his 2010 film, \u003cem>Exit Through the Gift Shop\u003c/em>. She even designed for Louis Vuitton.\u003c/p>\n\u003cp>“Don’t get me wrong,” she says. “I’m not always doing sex images. This is for a special occasion.”\u003c/p>\n\u003cp>\u003cstrong>“Writing graffiti is a literal rite of passage”\u003c/strong>\u003c/p>\n\u003cp>Since the early 1990s, Claudia Gold, who goes by CLAW and CLAW MONEY,\u003cstrong> \u003c/strong> has been spray-painting her nickname and her trademark cartoon paw all over New York City.\u003c/p>\n\u003cfigure id=\"attachment_13834865\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg\" alt='CLAW started bombing New York subway cars with her signature paw in the 1990s. \"We knew that they wanted to come after you if you painted the trains,\" she says. \"So to keep myself safer, I would only do a train here and there.\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CLAW started bombing New York subway cars with her signature paw in the 1990s. “We knew that they wanted to come after you if you painted the trains,” she says. “So to keep myself safer, I would only do a train here and there.” \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began in her early 20s, at a time when fewer women were doing graffiti and the city was on a mission to eradicate graffiti tags. Bombing subway trains wasn’t considered art, she says. “It was more vandalism, and I’m one of the only sort of grimy, early ’90s women street bombers. We knew that they wanted to come after you if you painted the trains, so to keep myself safer, I would only do a train here and there. Then you’d ultimately paint over it. You’d try to get a picture of it with a disposable camera from CVS or something, and hope it’d come out. Then you’d paint over it so they wouldn’t come knocking on your door.”\u003c/p>\n\u003cp>She says graffiti flourished in that lawless, electric time. Back then, many graffiti writers were black or Puerto Rican and had a hip-hop vibe. But CLAW was white, and she sometimes got grief for that. She says, “I felt very rejected — rejected from hip-hop.” So she adopted a rock persona.\u003c/p>\n\u003cp>Three decades later, her graffiti is still scattered all around New York, but she’s also moved on. Now, she uses hand embroidery, silk screening and enamel to design clothing for her brand, CLAW, and she also runs her own boutique on the Lower East Side.\u003c/p>\n\u003cp>She says, “Writing graffiti is a literal rite of passage of kids growing up in New York City, and the ones that have artistic talents are the ones that shine in the streets; and the ones that shine in the streets are encouraged to continue with their artwork. It blossoms like that.”\u003c/p>\n\u003cp>\u003cstrong>“A Monet going 80 miles an hour”\u003c/strong>\u003c/p>\n\u003cp>In the 1980s, the artist Maripol made some of the most iconic images of New York’s street and club scene. She was an underground club kid who had moved to New York from France in 1977 after becoming fascinated with graffiti art.\u003c/p>\n\u003cfigure id=\"attachment_13834870\" 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/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg\" alt=\"'Beyond the Streets' features blown-up prints of Maripol's Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980)\" width=\"800\" height=\"330\" class=\"size-medium wp-image-13834870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-768x317.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1020x421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1200x496.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1180x487.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-960x397.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-240x99.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-375x155.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-520x215.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ features blown-up prints of Maripol’s Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980) \u003ccite>(Courtesy of Maripol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sat in the subway looking at the No. 5\u003cstrong> \u003c/strong>train going by, and it was kind of like looking at an amazing abstract painting,” she recalls. “It could have been a Monet going 80 miles an hour.”\u003c/p>\n\u003cp>When her photographer boyfriend gave her her first Polaroid camera, an SX-70, Maripol began photographing friends and downtown legends: Jean-Michel Basquiat, Madonna, Andy Warhol, Keith Haring, Fab 5 Freddy, Grace Jones, Debbie Harry. They hung out together before, during and after clubbing.\u003c/p>\n\u003cfigure id=\"attachment_13834880\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg\" alt=\"Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at 'Beyond the Streets.'\" width=\"500\" height=\"375\" class=\"size-full wp-image-13834880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at ‘Beyond the Streets.’ \u003ccite>(Mandalit Del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a big downtown loft and it was easy for me to make a party or dinner because I was French and always cooking,” she recalls. “New York was bankrupt. And it was dangerous. You couldn’t even go to Washington Square Park. Madonna came to me because she wanted somebody to do her style, and then Jean-Michel Basquiat was staying with us. He lived with us, and I co-produced and art directed a movie called \u003cem>Downtown 81 \u003c/em>with him. He was 19 when I met him. A lot of time these kids’ parents either kicked them out, or, in Madonna’s case, her parents were in Michigan. I was kind of like a mother hen.”\u003c/p>\n\u003cp>“Beyond the Streets” features blown-up prints of Maripol’s 1980s Polaroids, some of which she has scratched and marked up to create new works of art.\u003c/p>\n\u003cp>\u003cstrong>“The new guard”\u003c/strong>\u003c/p>\n\u003cp>“Museums don’t often embrace this work, or they’ll embrace bits and pieces of it,” says curator Roger Gastman. He says “Beyond the Streets” was an experiment to see far they could get without a museum’s backing.\u003c/p>\n\u003cp>“We really said, ‘You know what? Let’s do this outside of a museum. Let’s do this on our own. Let’s make it work … and not have to follow the museum rules and create kind of the new guard.’ ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Beyond the Streets” is open through July 6. \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=%27Beyond+The+Streets%2C%27+And+Far+From+Vandalism%3A+Street+Art+Gets+A+Massive+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Outlaws. That's what they were called when they plastered their art on buildings and subway cars. Now, a Los Angeles exhibition looks at the studio work these artists created later in their careers. ",
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"description": "Outlaws. That's what they were called when they plastered their art on buildings and subway cars. Now, a Los Angeles exhibition looks at the studio work these artists created later in their careers. ",
"title": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show | KQED",
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"headline": "'Beyond The Streets,' and Far From Vandalism: Street Art Gets a Massive Show",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outlaws. That’s what they were considered when they spray-painted walls and bombed subway cars with modern-day hieroglyphics. They worked in alleys and train yards, bridges and tunnels. Now, many of them are being celebrated in a massive warehouse near Los Angeles’ Chinatown.\u003c/p>\n\u003cp>The exhibition “\u003ca href=\"https://www.beyondthestreets.com/\">Beyond the Streets\u003c/a>” focuses on the studio work street artists created later in their careers. It has more 40,000-square feet of paintings, murals, photos, installations and even old video games. (NPR gave “Beyond the Streets” a small amount of support as a media partner.)\u003c/p>\n\u003cp>“This is vandalism as contemporary art, or contemporary art as vandalism, depending on how you want to look at it,” says curator Roger Gastman, co-author of \u003cem>The History of American Graffiti\u003c/em>. “Street art has become such a buzzword, and lot of the motivation for doing a show like this was to show who the true artists respected by people inside the culture are.”\u003c/p>\n\u003cfigure id=\"attachment_13834860\" 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/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg\" alt='New York artist Lee Quiñones painted a full-size handball court for \"Beyond the Streets.\"' width=\"800\" height=\"533\" class=\"size-medium wp-image-13834860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lee-quin-ones_custom-759750522c6a94f80504482168b9ce2b07050ffb-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New York artist Lee Quiñones painted a full-size handball court for ‘Beyond the Streets.’ \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show includes 100 artists, living and deceased; “risk takers,” Gastman says, whose work connects with and inspires artists today. There are classic works by Keith Haring, TAKI 183, Jenny Holzer, SWOON, Jean-Michel Basquiat and photographers Henry Chalfant and Martha Cooper. There are also newer works by CRASH, FUTURA 2000, LADY PINK and Shepard Fairey.\u003c/p>\n\u003cfigure id=\"attachment_13834861\" 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/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg\" alt=\"Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/streets-composite-1-3b65e279386cdd3c7f0c097b1c625cb05180fe20-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Artist Ron Finley, aka the Gangsta Gardener, constructed one of his outdoor gardens for the exhibition. Right: Artist Kenny Scharf contributed a Day-Glo, black-lit room. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenny Scharf\u003cstrong> \u003c/strong>has decked out a Day-Glo, black-lit room for this show, and Lee Quiñones has painted a full-size handball court. Some of L.A.’s legends are here too: street gardener/activist Ron Finley constructed one of his outdoor gardens, and tattoo and graffiti artist Mister Cartoon created his own chapel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>“Our art criticizes the art system”\u003c/strong>\u003c/p>\n\u003cp>Then there are the Guerrilla Girls, a collective of artists who hide their faces with gorilla masks. The group formed 33 years ago in New York to protest the lack of women artists in museums and galleries, and the way women are represented in the art world.\u003c/p>\n\u003cfigure id=\"attachment_13834862\" 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/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg\" alt=\"'Beyond the Streets' boasts one of the Guerrilla Girls' most well-known billboards — in Spanish. It translates to "Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female."\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/img_0032_wide-4d88d32904a8d058a02928cee87cda63b367b297-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ boasts one of the Guerrilla Girls’ most well-known billboards — in Spanish. It translates to “Do women have to be naked to get into the Met? Less than 4 percent of the artists in the modern art sections are women, but 76 percent of the nudes are female.” \u003ccite>(Nicole Cohen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They plastered the streets with humorous, in-your-face posters, some of which are on display at “Beyond the Streets.” One of their most well-known billboards points out that less than 4 percent of the modern art on display at New York’s Metropolitan Museum of Art was created by women, while 76 percent of the nudes are female. Another huge poster depicts a gorilla head with crazy, spiral zombie eyes. It reads, “If you keep women out, they get resentful.”\u003c/p>\n\u003cfigure id=\"attachment_13834863\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg\" alt='The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled \"guerrilla\" in a doodle.' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/beauroulette_bts_5_1_18_guerrilla_girls_-img_6120-bea2e20593ffb222dd6813a76f9db0ae60d6e3a4-1.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Guerrilla Girls got the idea to hide their faces with gorilla masks after one of them misspelled “guerrilla” in a doodle. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founders goes by the pseudonym Käthe Kollwitz, a name borrowed from a \u003ca href=\"https://www.moma.org/artists/3201\" target>German political artist\u003c/a> born in 1867. She says, “Our art criticizes the art system, and we thought this up in the first place because we loved what we saw on the streets of New York: political posters, graffiti, tagging, art on the streets.”\u003c/p>\n\u003cp>Their criticism has gotten their art into major museums around the world. But Kollwitz notes that, ironically, the number of women artists included in “Beyond the Streets” isn’t great.\u003c/p>\n\u003cp>“There have always been issues with women in graffiti art,” she says.\u003c/p>\n\u003cp>\u003cstrong>Red-light district\u003c/strong>\u003c/p>\n\u003cp>Tokyo-born street artist Aiko Nakagawa, who goes by Lady AIKO and AIKO, combines graffiti art techniques with 18th-century Japanese woodblock printing to make large-scale works. For “Beyond the Streets,” AIKO\u003cstrong> \u003c/strong>created a red-light district room filled with erotic, comic book-like images using layered stencils and spray paint. There are signs and billboards advertising peep shows, hostess dancers and a “rub parlor.”\u003c/p>\n\u003cfigure id=\"attachment_13834864\" 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/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg\" alt=\"Left: AIKO's red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she's now based.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13834864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1200x710.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1920x1135.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-1180x698.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-960x568.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/aiko-composite1_custom-d8aad23613f017860a1ef885bcce6bcc19b10284-1.jpg 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: AIKO’s red-light district room is filled with erotic, comic book-like images. Right: AIKO (pictured) has shown her work in Rome, Shanghai and New York, where she’s now based. \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>AIKO\u003cstrong> \u003c/strong>says her images are reminiscent of the old, X-rated Times Square, and Japanese shunga, or erotic art. “People used to draw really sexy stuff in my country, so I’m making this whole section sexual and pornographic,” she says. “But also it’s more about women. You see [in the work] more sexual energy from women than men. My red-light district is more about how women want to have good time. We also want to enjoy some sexuality.”\u003c/p>\n\u003cp>AIKO says she had a depressing childhood in Tokyo, and began making art as an escape from being misunderstood. In her 20s, she moved to New York without knowing anyone or speaking English. There, she worked as a studio apprentice for artist Takashi Murakami, and began wheat pasting images of herself all over the city. She helped start the artist collective FAILE and collaborated with the anonymous artist Banksy on his 2010 film, \u003cem>Exit Through the Gift Shop\u003c/em>. She even designed for Louis Vuitton.\u003c/p>\n\u003cp>“Don’t get me wrong,” she says. “I’m not always doing sex images. This is for a special occasion.”\u003c/p>\n\u003cp>\u003cstrong>“Writing graffiti is a literal rite of passage”\u003c/strong>\u003c/p>\n\u003cp>Since the early 1990s, Claudia Gold, who goes by CLAW and CLAW MONEY,\u003cstrong> \u003c/strong> has been spray-painting her nickname and her trademark cartoon paw all over New York City.\u003c/p>\n\u003cfigure id=\"attachment_13834865\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg\" alt='CLAW started bombing New York subway cars with her signature paw in the 1990s. \"We knew that they wanted to come after you if you painted the trains,\" she says. \"So to keep myself safer, I would only do a train here and there.\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-13834865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/claw-f4d5a0e134085f0f29741f913aa3f645babd9d04-1.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CLAW started bombing New York subway cars with her signature paw in the 1990s. “We knew that they wanted to come after you if you painted the trains,” she says. “So to keep myself safer, I would only do a train here and there.” \u003ccite>(Beau Roulette/Courtesy of Beyond The Streets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began in her early 20s, at a time when fewer women were doing graffiti and the city was on a mission to eradicate graffiti tags. Bombing subway trains wasn’t considered art, she says. “It was more vandalism, and I’m one of the only sort of grimy, early ’90s women street bombers. We knew that they wanted to come after you if you painted the trains, so to keep myself safer, I would only do a train here and there. Then you’d ultimately paint over it. You’d try to get a picture of it with a disposable camera from CVS or something, and hope it’d come out. Then you’d paint over it so they wouldn’t come knocking on your door.”\u003c/p>\n\u003cp>She says graffiti flourished in that lawless, electric time. Back then, many graffiti writers were black or Puerto Rican and had a hip-hop vibe. But CLAW was white, and she sometimes got grief for that. She says, “I felt very rejected — rejected from hip-hop.” So she adopted a rock persona.\u003c/p>\n\u003cp>Three decades later, her graffiti is still scattered all around New York, but she’s also moved on. Now, she uses hand embroidery, silk screening and enamel to design clothing for her brand, CLAW, and she also runs her own boutique on the Lower East Side.\u003c/p>\n\u003cp>She says, “Writing graffiti is a literal rite of passage of kids growing up in New York City, and the ones that have artistic talents are the ones that shine in the streets; and the ones that shine in the streets are encouraged to continue with their artwork. It blossoms like that.”\u003c/p>\n\u003cp>\u003cstrong>“A Monet going 80 miles an hour”\u003c/strong>\u003c/p>\n\u003cp>In the 1980s, the artist Maripol made some of the most iconic images of New York’s street and club scene. She was an underground club kid who had moved to New York from France in 1977 after becoming fascinated with graffiti art.\u003c/p>\n\u003cfigure id=\"attachment_13834870\" 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/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg\" alt=\"'Beyond the Streets' features blown-up prints of Maripol's Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980)\" width=\"800\" height=\"330\" class=\"size-medium wp-image-13834870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-800x330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-768x317.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1020x421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1200x496.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-1180x487.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-960x397.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-240x99.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-375x155.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85-520x215.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-composite1_custom-8405e76a20832f22d07972acb724cebbd54d9728-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beyond the Streets’ features blown-up prints of Maripol’s Polaroids, some of which she has scratched and marked up to create new works of art. (Pictured, left to right: Boombox with Legs, 1978; DayGlo Splash, 1978; Self Portrait Little Red Riding, 1980) \u003ccite>(Courtesy of Maripol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sat in the subway looking at the No. 5\u003cstrong> \u003c/strong>train going by, and it was kind of like looking at an amazing abstract painting,” she recalls. “It could have been a Monet going 80 miles an hour.”\u003c/p>\n\u003cp>When her photographer boyfriend gave her her first Polaroid camera, an SX-70, Maripol began photographing friends and downtown legends: Jean-Michel Basquiat, Madonna, Andy Warhol, Keith Haring, Fab 5 Freddy, Grace Jones, Debbie Harry. They hung out together before, during and after clubbing.\u003c/p>\n\u003cfigure id=\"attachment_13834880\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg\" alt=\"Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at 'Beyond the Streets.'\" width=\"500\" height=\"375\" class=\"size-full wp-image-13834880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/maripol-actual-edit-920436dfdf60836d959158c638d0189810554bb9-s500-c85-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Maripol styled Blondie for the Parallel Lines album cover and Madonna for the Like a Virgin album cover. She appears here in front of her photographs at ‘Beyond the Streets.’ \u003ccite>(Mandalit Del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a big downtown loft and it was easy for me to make a party or dinner because I was French and always cooking,” she recalls. “New York was bankrupt. And it was dangerous. You couldn’t even go to Washington Square Park. Madonna came to me because she wanted somebody to do her style, and then Jean-Michel Basquiat was staying with us. He lived with us, and I co-produced and art directed a movie called \u003cem>Downtown 81 \u003c/em>with him. He was 19 when I met him. A lot of time these kids’ parents either kicked them out, or, in Madonna’s case, her parents were in Michigan. I was kind of like a mother hen.”\u003c/p>\n\u003cp>“Beyond the Streets” features blown-up prints of Maripol’s 1980s Polaroids, some of which she has scratched and marked up to create new works of art.\u003c/p>\n\u003cp>\u003cstrong>“The new guard”\u003c/strong>\u003c/p>\n\u003cp>“Museums don’t often embrace this work, or they’ll embrace bits and pieces of it,” says curator Roger Gastman. He says “Beyond the Streets” was an experiment to see far they could get without a museum’s backing.\u003c/p>\n\u003cp>“We really said, ‘You know what? Let’s do this outside of a museum. Let’s do this on our own. Let’s make it work … and not have to follow the museum rules and create kind of the new guard.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Beyond the Streets” is open through July 6. \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=%27Beyond+The+Streets%2C%27+And+Far+From+Vandalism%3A+Street+Art+Gets+A+Massive+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Band's Visit' and Harry Potter Win Big at a Quieter Tony Awards",
"headTitle": "‘The Band’s Visit’ and Harry Potter Win Big at a Quieter Tony Awards | KQED",
"content": "\u003cp>The Tony Awards felt a little different this year than they have recently. It was a year without a \u003cem>Hamilton \u003c/em>or a \u003cem>Dear Evan Hansen\u003c/em>; there was no one original, out-of-nowhere show that came into the Tony Awards as a pop phenomenon. In fact, all four of the four nominated musicals were adaptations of existing properties: \u003cem>SpongeBob SquarePants\u003c/em>, Disney’s \u003cem>Frozen\u003c/em> and the non-musical films \u003cem>Mean Girls \u003c/em>and \u003cem>The Band’s Visit\u003c/em>.\u003c/p>\n\u003cp>In fact, it was a relatively quiet but contemplative ceremony on the whole. Hosts Sara Bareilles and Josh Groban were just what this kind of evening needs: They are theater people (well, they are now, having starred respectively in \u003cem>Waitress \u003c/em>and \u003cem>The Great Comet\u003c/em>). They were amiable and game, opening with a funny and chill little pop song about losing at the Tonys (which they both have done). It wasn’t a big blowout welcome like the ones Neil Patrick Harris used to do, but there’s genuinely no point in trying to compete with that. These two are singers, and they leaned into their voices. And they did end with a display of ensemble members from every nominated musical. And if you don’t love the ensembles, you can’t possibly love the Tonys.\u003c/p>\n\u003cp>As for the awards themselves, some things that seemed highly likely panned out, including generous attention for the current revival of Tony Kushner’s \u003cem>Angels in America\u003c/em>. Andrew Garfield won for his lead performance, talking in general terms about the LGBTQ community and the human spirit before saying, “Let’s just bake a cake for everyone who wants a cake to be baked,” which now \u003ca href=\"https://www.npr.org/2018/06/04/605003519/supreme-court-decides-in-favor-of-baker-over-same-sex-couple-in-cake-shop-case\" target=\"_blank\" rel=\"noopener\">qualifies as a political stance\u003c/a>. Nathan Lane won for his featured performance, breaking up as he addressed his husband in the audience and placing the play in the context of a recent effort to take his life in a different direction. \u003cem>Angels \u003c/em>also won best revival of a play, beating out versions of \u003cem>Lobby Hero \u003c/em>and \u003cem>The Iceman Cometh\u003c/em>, among others.\u003c/p>\n\u003cp>One of those others, \u003cem>Three Tall Women\u003c/em>, may not have won for the play itself, but both its lead actress and its featured actress did win. Laurie Metcalf, doubtless having more fun collecting a Tony than she would be having talking about the cancellation of \u003cem>Roseanne\u003c/em>, won in the featured category. And Glenda Jackson, who’s only recently returned from a long break from acting during which she served in the British Parliament (yes, you may insert your exclamation points here if this is new information) won in the lead category.\u003c/p>\n\u003cp>Best play was won by \u003cem>Harry Potter and the Cursed Child\u003c/em> — another piece of intellectual property stretched to make something new — and it grabbed best direction of a play as well. (Director John Tiffany said it was his boyfriend’s birthday and asked everyone to sing “Happy Birthday,” which they did. This was either the most darling or the most mortifying thing you have ever seen, and you should disclose to each other which one you think it is before you marry anyone.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The big winner in musicals was \u003cem>The Band’s Visit\u003c/em>, based on a 2007 film about a group of Egyptian musicians who accidentally end up staying in an Israeli town. It won best musical, and it took three out of the four acting awards: lead actor Tony Shalhoub (who, yes, you may know from \u003cem>Monk \u003c/em>and \u003cem>Wings \u003c/em>and \u003cem>Big Night \u003c/em>and all sorts of things); lead actress Katrina Lenk; and featured actor Ari’el Stachel, who spoke of what it meant to him as a Middle Eastern actor to be playing a Middle Eastern character.\u003c/p>\n\u003cp>Featured actress in a musical was given to Lindsay Mendez for \u003cem>Carousel\u003c/em>, and while she may have been in a different show, she touched on one of the same themes Stachel did, recalling that when she was younger, she was told to change her name to Matthews if she wanted to work.\u003c/p>\n\u003cp>The ceremony producers went well out of their way to include quite a bit of Bruce Springsteen, whose Broadway show received a special award — seemingly for bringing new people into Broadway theaters. On top of that, Springsteen performed a long monologue and a bit of “My Hometown,” as he does in the show. While his piece isn’t a musical in any traditional sense, it seemed to suffer a little from the same thing that usually plagues musicals that try to present themselves on the Tonys broadcast: Out of context, it didn’t really land the way it would in an intimate theater.\u003c/p>\n\u003cp>But again, that’s a common problem in the musicals category. The Tonys broadcast serves as a time to introduce people to shows, but particularly in the case of \u003cem>Mean Girls\u003c/em>, it was hard to believe the relatively lifeless and disjointed presentation we saw was going to entice a lot of people to see it. (Although all hail Tina Fey for introducing it by saying, “All four of tonight’s best musical nominees are based on movies. But only one of these movies paid for my boat.”)\u003c/p>\n\u003cp>The \u003cem>SpongeBob SquarePants \u003c/em>song featured some of the fun work of presenting Squidward with at least some of his multiple legs — plus it featured group tap dancing, which every Tonys broadcast should have — but it seemed not to quite pop off the stage the way they might have hoped. \u003cem>Frozen \u003c/em>was pleasantly Disney, but not much more than that. \u003cem>The Band’s Visit \u003c/em>did by far the best: “Omar Sharif,” a song primarily sung by Lenk as she recalls movies and music she’s loved, conveyed the intimacy of the show and of the relationships between the characters without sagging or feeling underpowered just because it was seen in isolation.\u003c/p>\n\u003cp>The revivals of \u003cem>My Fair Lady \u003c/em>and \u003cem>Carousel \u003c/em>fared fine, with the former highlighting its star, Lauren Ambrose, and then the crowd-pleasing “Get Me To The Church On Time,” and the latter going with the choreography of the lesser-known number “Blow High, Blow Low,” which is about going out on the sea to go whaling, in case you were wondering. The revival of \u003cem>Once On This Island —\u003c/em> which ultimately won the revival category — had better luck with a high-energy performance from Alex Newell. The show may not be as familiar to some audiences as \u003cem>Carousel \u003c/em>or \u003cem>My Fair Lady\u003c/em>, but the number seemed better-suited for the context of the Tony Awards than some.\u003c/p>\n\u003cp>But there was more going on here than awards.\u003c/p>\n\u003cp>It can be awkward when awards shows try to address current events — very awkward, in fact. But as it happened, the Tonys had a natural connection to the shooting at Marjory Stoneman Douglas High School in February. The drama teacher, Melody Herzfeld, won the Excellence in Theatre Education Award — not only for keeping students safe during the initial event, but for encouraging her students to use drama and art and music to express themselves after. And while it would have been lovely to see her speech during the ceremony itself (it happened \u003ca href=\"https://slate.com/culture/2018/06/watch-marjorie-stoneman-douglas-high-school-theater-teacher-melody-herzfelds-full-tony-acceptance-speech.html\" target=\"_blank\" rel=\"noopener\">earlier in the evening\u003c/a>), what did make the prime-time show was her kids — her drama kids — performing “Seasons Of Love” from \u003cem>Rent\u003c/em>. Well, of course they did. It could have been something from \u003cem>Hamilton\u003c/em>, yes. But \u003cem>Rent \u003c/em>is still a touchstone for theater kids.\u003c/p>\n\u003cp>This has always been the secret ingredient of the Tony Awards: They embrace their kids. Not \u003cem>their \u003c/em>kids, not their \u003cem>actual \u003c/em>kids — their communal kids. The theater kids, the drama nerds, the kids who find their tribe in plays and the kids who know they want something special but don’t find that tribe until they make it out of school and get somewhere else. The Tonys telecast always takes the time to speak to those kids, and while it would have been far better if it had been in different circumstances, it seemed appropriate, rather than forced, to let Herzfeld’s students demonstrate some of what she’s done for them under these difficult circumstances.\u003c/p>\n\u003cp>It was a lovely broadcast. It felt calm. It didn’t feel rapturous, like it did when it was full of \u003cem>Hamilton\u003c/em>, and it didn’t feel downright riotous, like it did when \u003ca href=\"https://www.youtube.com/watch?v=qo6lPifGnGA\">Sutton Foster performed\u003c/a> with the cast of \u003cem>Anything Goes\u003c/em>. But it felt charged with the emotion of theater people — talking about welcoming immigrants, talking about supporting people who don’t look like us, talking about supporting kids whose lives are touched by violence. Even Robert De Niro, standing up and twice directing his favorite profanity at the president of the United States, seemed anguished more than petulant.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Theater people have a lot of feelings. On this night, it showed. \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=%27The+Band%27s+Visit%27+And+Harry+Potter+Win+Big+At+A+Quieter+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Tony Awards felt a little different this year than they have recently. It was a year without a \u003cem>Hamilton \u003c/em>or a \u003cem>Dear Evan Hansen\u003c/em>; there was no one original, out-of-nowhere show that came into the Tony Awards as a pop phenomenon. In fact, all four of the four nominated musicals were adaptations of existing properties: \u003cem>SpongeBob SquarePants\u003c/em>, Disney’s \u003cem>Frozen\u003c/em> and the non-musical films \u003cem>Mean Girls \u003c/em>and \u003cem>The Band’s Visit\u003c/em>.\u003c/p>\n\u003cp>In fact, it was a relatively quiet but contemplative ceremony on the whole. Hosts Sara Bareilles and Josh Groban were just what this kind of evening needs: They are theater people (well, they are now, having starred respectively in \u003cem>Waitress \u003c/em>and \u003cem>The Great Comet\u003c/em>). They were amiable and game, opening with a funny and chill little pop song about losing at the Tonys (which they both have done). It wasn’t a big blowout welcome like the ones Neil Patrick Harris used to do, but there’s genuinely no point in trying to compete with that. These two are singers, and they leaned into their voices. And they did end with a display of ensemble members from every nominated musical. And if you don’t love the ensembles, you can’t possibly love the Tonys.\u003c/p>\n\u003cp>As for the awards themselves, some things that seemed highly likely panned out, including generous attention for the current revival of Tony Kushner’s \u003cem>Angels in America\u003c/em>. Andrew Garfield won for his lead performance, talking in general terms about the LGBTQ community and the human spirit before saying, “Let’s just bake a cake for everyone who wants a cake to be baked,” which now \u003ca href=\"https://www.npr.org/2018/06/04/605003519/supreme-court-decides-in-favor-of-baker-over-same-sex-couple-in-cake-shop-case\" target=\"_blank\" rel=\"noopener\">qualifies as a political stance\u003c/a>. Nathan Lane won for his featured performance, breaking up as he addressed his husband in the audience and placing the play in the context of a recent effort to take his life in a different direction. \u003cem>Angels \u003c/em>also won best revival of a play, beating out versions of \u003cem>Lobby Hero \u003c/em>and \u003cem>The Iceman Cometh\u003c/em>, among others.\u003c/p>\n\u003cp>One of those others, \u003cem>Three Tall Women\u003c/em>, may not have won for the play itself, but both its lead actress and its featured actress did win. Laurie Metcalf, doubtless having more fun collecting a Tony than she would be having talking about the cancellation of \u003cem>Roseanne\u003c/em>, won in the featured category. And Glenda Jackson, who’s only recently returned from a long break from acting during which she served in the British Parliament (yes, you may insert your exclamation points here if this is new information) won in the lead category.\u003c/p>\n\u003cp>Best play was won by \u003cem>Harry Potter and the Cursed Child\u003c/em> — another piece of intellectual property stretched to make something new — and it grabbed best direction of a play as well. (Director John Tiffany said it was his boyfriend’s birthday and asked everyone to sing “Happy Birthday,” which they did. This was either the most darling or the most mortifying thing you have ever seen, and you should disclose to each other which one you think it is before you marry anyone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The big winner in musicals was \u003cem>The Band’s Visit\u003c/em>, based on a 2007 film about a group of Egyptian musicians who accidentally end up staying in an Israeli town. It won best musical, and it took three out of the four acting awards: lead actor Tony Shalhoub (who, yes, you may know from \u003cem>Monk \u003c/em>and \u003cem>Wings \u003c/em>and \u003cem>Big Night \u003c/em>and all sorts of things); lead actress Katrina Lenk; and featured actor Ari’el Stachel, who spoke of what it meant to him as a Middle Eastern actor to be playing a Middle Eastern character.\u003c/p>\n\u003cp>Featured actress in a musical was given to Lindsay Mendez for \u003cem>Carousel\u003c/em>, and while she may have been in a different show, she touched on one of the same themes Stachel did, recalling that when she was younger, she was told to change her name to Matthews if she wanted to work.\u003c/p>\n\u003cp>The ceremony producers went well out of their way to include quite a bit of Bruce Springsteen, whose Broadway show received a special award — seemingly for bringing new people into Broadway theaters. On top of that, Springsteen performed a long monologue and a bit of “My Hometown,” as he does in the show. While his piece isn’t a musical in any traditional sense, it seemed to suffer a little from the same thing that usually plagues musicals that try to present themselves on the Tonys broadcast: Out of context, it didn’t really land the way it would in an intimate theater.\u003c/p>\n\u003cp>But again, that’s a common problem in the musicals category. The Tonys broadcast serves as a time to introduce people to shows, but particularly in the case of \u003cem>Mean Girls\u003c/em>, it was hard to believe the relatively lifeless and disjointed presentation we saw was going to entice a lot of people to see it. (Although all hail Tina Fey for introducing it by saying, “All four of tonight’s best musical nominees are based on movies. But only one of these movies paid for my boat.”)\u003c/p>\n\u003cp>The \u003cem>SpongeBob SquarePants \u003c/em>song featured some of the fun work of presenting Squidward with at least some of his multiple legs — plus it featured group tap dancing, which every Tonys broadcast should have — but it seemed not to quite pop off the stage the way they might have hoped. \u003cem>Frozen \u003c/em>was pleasantly Disney, but not much more than that. \u003cem>The Band’s Visit \u003c/em>did by far the best: “Omar Sharif,” a song primarily sung by Lenk as she recalls movies and music she’s loved, conveyed the intimacy of the show and of the relationships between the characters without sagging or feeling underpowered just because it was seen in isolation.\u003c/p>\n\u003cp>The revivals of \u003cem>My Fair Lady \u003c/em>and \u003cem>Carousel \u003c/em>fared fine, with the former highlighting its star, Lauren Ambrose, and then the crowd-pleasing “Get Me To The Church On Time,” and the latter going with the choreography of the lesser-known number “Blow High, Blow Low,” which is about going out on the sea to go whaling, in case you were wondering. The revival of \u003cem>Once On This Island —\u003c/em> which ultimately won the revival category — had better luck with a high-energy performance from Alex Newell. The show may not be as familiar to some audiences as \u003cem>Carousel \u003c/em>or \u003cem>My Fair Lady\u003c/em>, but the number seemed better-suited for the context of the Tony Awards than some.\u003c/p>\n\u003cp>But there was more going on here than awards.\u003c/p>\n\u003cp>It can be awkward when awards shows try to address current events — very awkward, in fact. But as it happened, the Tonys had a natural connection to the shooting at Marjory Stoneman Douglas High School in February. The drama teacher, Melody Herzfeld, won the Excellence in Theatre Education Award — not only for keeping students safe during the initial event, but for encouraging her students to use drama and art and music to express themselves after. And while it would have been lovely to see her speech during the ceremony itself (it happened \u003ca href=\"https://slate.com/culture/2018/06/watch-marjorie-stoneman-douglas-high-school-theater-teacher-melody-herzfelds-full-tony-acceptance-speech.html\" target=\"_blank\" rel=\"noopener\">earlier in the evening\u003c/a>), what did make the prime-time show was her kids — her drama kids — performing “Seasons Of Love” from \u003cem>Rent\u003c/em>. Well, of course they did. It could have been something from \u003cem>Hamilton\u003c/em>, yes. But \u003cem>Rent \u003c/em>is still a touchstone for theater kids.\u003c/p>\n\u003cp>This has always been the secret ingredient of the Tony Awards: They embrace their kids. Not \u003cem>their \u003c/em>kids, not their \u003cem>actual \u003c/em>kids — their communal kids. The theater kids, the drama nerds, the kids who find their tribe in plays and the kids who know they want something special but don’t find that tribe until they make it out of school and get somewhere else. The Tonys telecast always takes the time to speak to those kids, and while it would have been far better if it had been in different circumstances, it seemed appropriate, rather than forced, to let Herzfeld’s students demonstrate some of what she’s done for them under these difficult circumstances.\u003c/p>\n\u003cp>It was a lovely broadcast. It felt calm. It didn’t feel rapturous, like it did when it was full of \u003cem>Hamilton\u003c/em>, and it didn’t feel downright riotous, like it did when \u003ca href=\"https://www.youtube.com/watch?v=qo6lPifGnGA\">Sutton Foster performed\u003c/a> with the cast of \u003cem>Anything Goes\u003c/em>. But it felt charged with the emotion of theater people — talking about welcoming immigrants, talking about supporting people who don’t look like us, talking about supporting kids whose lives are touched by violence. Even Robert De Niro, standing up and twice directing his favorite profanity at the president of the United States, seemed anguished more than petulant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Theater people have a lot of feelings. On this night, it showed. \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=%27The+Band%27s+Visit%27+And+Harry+Potter+Win+Big+At+A+Quieter+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Parkland Drama Teacher Who Helped Save 65 To Receive Tony Award For Education",
"headTitle": "Parkland Drama Teacher Who Helped Save 65 To Receive Tony Award For Education | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/618262405/618280160\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>When gunfire broke out at Marjory Stoneman Douglas High School in Parkland, Fla., in February, teacher Melody Herzfeld rushed into action. As shooting went off, she closed the door to her drama classroom, shouted instructions to students on what to do and waited for the rampage to end.\u003c/p>\n\u003cp>“I was just literally at the door just saying, ‘Come on, come on, come on, move, move, move,’ ” she says.\u003c/p>\n\u003cp>Over the next few hours, Herzfeld and 65 students sheltered in place before authorities determined it was safe for them to come out. In all, \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/parkland-school-shooting-victims/?utm_term=.56a66b633497\">17 students and teachers\u003c/a> were killed in the massacre, one of the deadliest mass school shootings in recent history.\u003c/p>\n\u003cp>On Sunday, Herzfeld will be recognized for her work on theater’s biggest night at the 72nd annual Tony Awards at Radio City in New York, where she’ll receive this year’s award for excellence in theater education. The honor, bestowed by the Tony Awards and Carnegie Mellon University, is given each year to a K-12 theater educator \u003ca href=\"https://www.tonyawards.com/en_US/news/articles/2018-05-30/2018-05-30_the_tony_awards_carnegie_mellon_university_present_2018_excellence_in_theatre_education_award_to_melody_herzfeld_of_parkland_fl.html\">“who has demonstrated monumental impact on the lives of students.”\u003c/a> It comes with a $10,000 prize for the winner’s theater program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It means more than anything,” Herzfeld tells NPR’s Rachel Martin on \u003cem>Morning Edition, \u003c/em>about winning the award. “To our community, it’s a sense of hope, it’s a sense of happiness, and pride and joy to recognize that these people here that live here, and these students that go to this school, they’re not just given everything, they work really hard for what they have, and to be recognized by such a special organization that doesn’t just give stuff away, it’s very meaningful to the whole community here.”\u003c/p>\n\u003cp>In the days that followed the massacre, many of Herzfeld’s students in the theater department were among those who helped spark a movement for tighter gun control in the United States. At a \u003ca href=\"https://www.cnn.com/2018/02/21/politics/cnn-town-hall-florida-shooting/index.html\">CNN town hall\u003c/a> one week after the shooting, she guided her students in a performance of an original song they wrote titled “Shine.”\u003c/p>\n\u003cp>In the song, the students declared, “We’re tired of hearing that we’re too young to ever make a change. You’re not gonna knock us down. We’ll get back up again.”\u003c/p>\n\u003cp>“The CNN town hall was so contentious and so, it was so sad,” Herzfeld says. But when her students started playing, she says, “The whole place just hushed. They just hushed. And everybody stood up and just looked at the girls up there, and at the end, I almost felt like I wasn’t at this horrible event, I was at something that had hope.”\u003c/p>\n\u003cp>https://youtu.be/sW6cXVzRnuo\u003c/p>\n\u003cp>Herzfeld, who’s taught drama at Stoneman Douglas since 2003 and managed more than 50 productions, says that her job “is to let my students tell their own truth.”\u003c/p>\n\u003cp>To that point, she says it came as no surprise that Parkland students have gone on to become such outspoken champions for gun control in the months since the shooting. In March, for example, students helped turn out an \u003ca href=\"https://www.washingtonpost.com/news/monkey-cage/wp/2018/04/13/did-you-attend-the-march-for-our-lives-heres-what-it-looked-like-nationwide/?utm_term=.942665b69f63\">estimated\u003c/a> 1.4 million to 2.2 million in “March for Our Lives” rallies at more than 750 locations nationwide.\u003c/p>\n\u003cp>“Obviously, what happened, that’s part of it, who those individuals are, that’s another part of it, the kind of resilience that those individuals have, absolutely.”\u003c/p>\n\u003cp>But she also credits the lessons and values they’ve learned through theater.\u003c/p>\n\u003cp>“Kind of what we do, like as a performing arts student, is we insist in our classrooms to be honest,” Herzfeld says. “We insist in our classrooms for our students to be truthful, loyal, honest and hardworking. So it makes absolute sense that this kind of perfect storm occurred.”\u003c/p>\n\u003cp>Charlotte St. Martin and Heather Hitchens, presidents of The Broadway League and the American Theatre Wing, respectively, which both helped select this year’s winner, had high praises for Herzfeld.\u003c/p>\n\u003cp>“Melody is a true inspiration to her students and to all of us in the theatre community and beyond,” they said in a statement. “We are honored and humbled to present the Excellence in Theatre Education Award to Melody this year.”\u003c/p>\n\u003cp>This year’s Tony Awards will air on CBS on Sunday starting at 8 p.m. ET. The show will be hosted by Sara Bareilles and Josh Groban.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Steve Tripoli and Bo Hamby edited and produced this story for broadcast on \u003c/em>Morning Edition.\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=Parkland+Drama+Teacher+Who+Helped+Save+65+To+Receive+Tony+Award+For+Education&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/618262405/618280160\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>When gunfire broke out at Marjory Stoneman Douglas High School in Parkland, Fla., in February, teacher Melody Herzfeld rushed into action. As shooting went off, she closed the door to her drama classroom, shouted instructions to students on what to do and waited for the rampage to end.\u003c/p>\n\u003cp>“I was just literally at the door just saying, ‘Come on, come on, come on, move, move, move,’ ” she says.\u003c/p>\n\u003cp>Over the next few hours, Herzfeld and 65 students sheltered in place before authorities determined it was safe for them to come out. In all, \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/parkland-school-shooting-victims/?utm_term=.56a66b633497\">17 students and teachers\u003c/a> were killed in the massacre, one of the deadliest mass school shootings in recent history.\u003c/p>\n\u003cp>On Sunday, Herzfeld will be recognized for her work on theater’s biggest night at the 72nd annual Tony Awards at Radio City in New York, where she’ll receive this year’s award for excellence in theater education. The honor, bestowed by the Tony Awards and Carnegie Mellon University, is given each year to a K-12 theater educator \u003ca href=\"https://www.tonyawards.com/en_US/news/articles/2018-05-30/2018-05-30_the_tony_awards_carnegie_mellon_university_present_2018_excellence_in_theatre_education_award_to_melody_herzfeld_of_parkland_fl.html\">“who has demonstrated monumental impact on the lives of students.”\u003c/a> It comes with a $10,000 prize for the winner’s theater program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It means more than anything,” Herzfeld tells NPR’s Rachel Martin on \u003cem>Morning Edition, \u003c/em>about winning the award. “To our community, it’s a sense of hope, it’s a sense of happiness, and pride and joy to recognize that these people here that live here, and these students that go to this school, they’re not just given everything, they work really hard for what they have, and to be recognized by such a special organization that doesn’t just give stuff away, it’s very meaningful to the whole community here.”\u003c/p>\n\u003cp>In the days that followed the massacre, many of Herzfeld’s students in the theater department were among those who helped spark a movement for tighter gun control in the United States. At a \u003ca href=\"https://www.cnn.com/2018/02/21/politics/cnn-town-hall-florida-shooting/index.html\">CNN town hall\u003c/a> one week after the shooting, she guided her students in a performance of an original song they wrote titled “Shine.”\u003c/p>\n\u003cp>In the song, the students declared, “We’re tired of hearing that we’re too young to ever make a change. You’re not gonna knock us down. We’ll get back up again.”\u003c/p>\n\u003cp>“The CNN town hall was so contentious and so, it was so sad,” Herzfeld says. But when her students started playing, she says, “The whole place just hushed. They just hushed. And everybody stood up and just looked at the girls up there, and at the end, I almost felt like I wasn’t at this horrible event, I was at something that had hope.”\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/sW6cXVzRnuo'\n title='//www.youtube.com/embed/sW6cXVzRnuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Herzfeld, who’s taught drama at Stoneman Douglas since 2003 and managed more than 50 productions, says that her job “is to let my students tell their own truth.”\u003c/p>\n\u003cp>To that point, she says it came as no surprise that Parkland students have gone on to become such outspoken champions for gun control in the months since the shooting. In March, for example, students helped turn out an \u003ca href=\"https://www.washingtonpost.com/news/monkey-cage/wp/2018/04/13/did-you-attend-the-march-for-our-lives-heres-what-it-looked-like-nationwide/?utm_term=.942665b69f63\">estimated\u003c/a> 1.4 million to 2.2 million in “March for Our Lives” rallies at more than 750 locations nationwide.\u003c/p>\n\u003cp>“Obviously, what happened, that’s part of it, who those individuals are, that’s another part of it, the kind of resilience that those individuals have, absolutely.”\u003c/p>\n\u003cp>But she also credits the lessons and values they’ve learned through theater.\u003c/p>\n\u003cp>“Kind of what we do, like as a performing arts student, is we insist in our classrooms to be honest,” Herzfeld says. “We insist in our classrooms for our students to be truthful, loyal, honest and hardworking. So it makes absolute sense that this kind of perfect storm occurred.”\u003c/p>\n\u003cp>Charlotte St. Martin and Heather Hitchens, presidents of The Broadway League and the American Theatre Wing, respectively, which both helped select this year’s winner, had high praises for Herzfeld.\u003c/p>\n\u003cp>“Melody is a true inspiration to her students and to all of us in the theatre community and beyond,” they said in a statement. “We are honored and humbled to present the Excellence in Theatre Education Award to Melody this year.”\u003c/p>\n\u003cp>This year’s Tony Awards will air on CBS on Sunday starting at 8 p.m. ET. The show will be hosted by Sara Bareilles and Josh Groban.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Steve Tripoli and Bo Hamby edited and produced this story for broadcast on \u003c/em>Morning Edition.\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=Parkland+Drama+Teacher+Who+Helped+Save+65+To+Receive+Tony+Award+For+Education&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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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