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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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"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>\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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"title": "Mister Rogers Talked Frankly With Kids About 'Grown-Up' Issues that Weren't",
"headTitle": "Mister Rogers Talked Frankly With Kids About ‘Grown-Up’ Issues that Weren’t | KQED",
"content": "\u003cp>It’s hard to imagine anyone sending hate mail to Fred Rogers, but there was one episode of \u003cem>Mister Rogers’ Neighborhood \u003c/em>that brought the beloved children’s TV star a bit of blowback: “He did an episode about Santa Claus,” explains filmmaker Morgan Neville. “And he didn’t like the idea that there was somebody who snuck into your house in the middle of the night … so he told kids the truth … and a lot of parents wrote a lot of angry letters.”\u003c/p>\n\u003cp>Santa aside, Rogers generally flew “under the radar,” Neville says, even when he was engaging kids in conversations that some adults considered well beyond their years. With a toy trolley, talking puppets and a simple set, the show had low production value, but the host was “cutting edge,” the filmmaker explains, in respecting the emotional intelligence of children; helping them grapple with “grown-up” issues such as death, divorce and disturbing current events.\u003c/p>\n\u003cp>Aimed at toddlers and preschoolers, \u003cem>Mister Rogers’ Neighborhood \u003c/em>made its nationwide debut in 1968 and aired for more than three decades. It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Filmmaker Morgan Neville says he gets asked one question more than any other: Was Fred Rogers as nice as he appeared on TV? 'Won't You Be My Neighbor?' answers that question with an emphatic yes.",
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"description": "Filmmaker Morgan Neville says he gets asked one question more than any other: Was Fred Rogers as nice as he appeared on TV? 'Won't You Be My Neighbor?' answers that question with an emphatic yes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine anyone sending hate mail to Fred Rogers, but there was one episode of \u003cem>Mister Rogers’ Neighborhood \u003c/em>that brought the beloved children’s TV star a bit of blowback: “He did an episode about Santa Claus,” explains filmmaker Morgan Neville. “And he didn’t like the idea that there was somebody who snuck into your house in the middle of the night … so he told kids the truth … and a lot of parents wrote a lot of angry letters.”\u003c/p>\n\u003cp>Santa aside, Rogers generally flew “under the radar,” Neville says, even when he was engaging kids in conversations that some adults considered well beyond their years. With a toy trolley, talking puppets and a simple set, the show had low production value, but the host was “cutting edge,” the filmmaker explains, in respecting the emotional intelligence of children; helping them grapple with “grown-up” issues such as death, divorce and disturbing current events.\u003c/p>\n\u003cp>Aimed at toddlers and preschoolers, \u003cem>Mister Rogers’ Neighborhood \u003c/em>made its nationwide debut in 1968 and aired for more than three decades. It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\u003c/p>\n\u003cp>https://youtu.be/FhwktRDG_aQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\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/FhwktRDG_aQ'\n title='//www.youtube.com/embed/FhwktRDG_aQ'\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>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Musician and 'Whale Whisperer' Sued for Defrauding Investors of $3.3 Million",
"headTitle": "Musician and ‘Whale Whisperer’ Sued for Defrauding Investors of $3.3 Million | KQED",
"content": "\u003cp>The New Age composer, rock music producer, entrepreneur and filmmaker Paul Gilman, who produced a film about using music to communicate with ocean mammals, is being sued by the Securities and Exchange Commission for allegedly defrauding 40 investors of $3.3 million over the course of three years.\u003c/p>\n\u003cp>Filed Monday in Texas federal court, \u003ca href=\"https://www.sec.gov/litigation/complaints/2018/comp24156.pdf\">the SEC’s suit\u003c/a> against Paul Gilman, who it says refers to himself as a “whale whisperer,” accuses him of misleading investors in his three companies, GilmanSound, WaveTech and Oil Migration Group (OMG). GIlman claimed that OMG had developed “revolutionary technology based on ‘sonication’ that would transform the oil and gas industry by using soundwaves to cheaply and effectively lower the viscosity of oil,” according to the complaint, which would presumably lower the cost of oil distribution and processing. With WaveTech, Gilman claimed to have developed a separate sound-based technology for water separation and purification of oil, the SEC alleges.\u003c/p>\n\u003cp>Multiple attempts to contact Gilman’s representation, Dallas-based attorney John Teakell, were not returned. Teakell did give \u003ca href=\"https://www.usatoday.com/story/money/2018/06/05/whale-whisperer-charged-3-million-financial-scam-sec/672510002/\" target=\"_blank\" rel=\"noopener\">a statement to \u003cem>USA Today\u003c/em>\u003c/a> on Tuesday however, saying his client “believes that the evidence will show that the subject technology was being developed and continued to be developed. Therefore, he had no intent to defraud anyone.” Multiple attempts to contact WaveTech were not returned. Calls to Raymond McGlamery, the registered agent of Oil Migration Group, were also not returned.\u003c/p>\n\u003cp>The SEC claims Gilman misled several individuals about what their investments would be used for, and that he instead spent the funding on travel, designer clothes and cash withdrawals at casinos. Those investors included a nurse in Dallas, from whom he is said to have taken $540,000, a psychology professor in Parker, Texas,. from whom he received $60,000 and a church minister in Franklin, Tenn., who gave him $100,000. The latter received a repayment of $100,000 after he became “disillusioned with Gilman” and asked for his money back, which the SEC refers to as a “Ponzi payment” — besides that Ponzi payment and a separate legal settlement, the government claims no money raised by Gilman was ever returned to investors.\u003c/p>\n\u003cp>The companies were the most recent in a long line of projects related to sound and music from Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While GilmanSound’s exact purpose isn’t clear — \u003ca href=\"https://www.sportsvideo.org/2014/06/03/gilmansounds-black-box-audio-processor-attracts-nfl-mlb-attention/\" target=\"_blank\" rel=\"noopener\">a report on its work from 2014\u003c/a> said Gilman was “coy about how the system works” — it was founded in order to improve the audio of sports stadiums, and secured at least two clients, both in Texas, that NPR could confirm. And the work it did still gets a thumbs-up from at least one of its customers.\u003c/p>\n\u003cp>“In 2011, the Texas Rangers purchased equipment and paid for service from GilmanSound to improve the audio system in the Globe Life Park seating bowl,” says John Blake, executive vice president for the Texas Rangers, in a statement to NPR. “The work certainly enhanced the sound, especially as it pertained to the audio on the video boards and the ballpark speakers. Our dealings with GilmanSound have been very professional. Other than that, we really have no other comment.”\u003c/p>\n\u003cp>The Houston Astros declined a request to comment, but did confirm that Minute Maid Park, its home stadium, also installed technology from GilmanSound. However, the SEC accuses Gilman of misappropriating investor funds from GilmanSound as well, after it “failed to perform” — NPR was unable to find up-to-date contact information for GilmanSound.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=ZXvEzV0eisU\" target=\"_blank\" rel=\"noopener\">a 2015 interview\u003c/a> with author\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Alena Chapman, Gilman explained his work with whales and dolphins, which eventually led to the 2004 film \u003ca href=\"https://www.imdb.com/title/tt0447676/\" target=\"_blank\" rel=\"noopener\">\u003cem>Ocean Odyssey\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>During that interview, Gilman said he was led to the project after receiving a call while working with John Phillips, of The Mamas and The Papas. “I’m in a studio with Papa John Phillips, producing for him … I get this call from a gentleman named [indecipherable] from Hawaii, and he’s a kahuna, a medicine man, who had heard my music through friends. He called up and said ‘You are the one who will carry the message to the whales and dolphins, you must be here tomorrow.’ I looked at John and said, ‘I have to go now.’ ” Gilman goes on to explain how he cultivated a relationship with that kahuna, which led him to research direct communication, through music, with whales and dolphins.\u003c/p>\n\u003cp>Ten years before \u003cem>Ocean Odyssey\u003c/em>, Gilman released an album of ocean-themed ambient music, \u003ca href=\"https://www.allmusic.com/album/uncharted-seas-mw0000884949\">\u003cem>Uncharted Seas\u003c/em>\u003c/a>. That album was followed in 1997 by another New Age record, \u003ca href=\"https://www.amazon.com/Other-Side-Paul-Gilman/dp/B000003TJC/ref=ntt_mus_ep_dpi_2\" target=\"_blank\" rel=\"noopener\">\u003cem>From the Other Side\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In that same 2015 interview, Gilman claimed to have worked with Apple on audio technologies alongside the engineer John Worthington, who did not respond to a request for confirmation. Apple did not immediately respond to a request for confirmation that Gilman had worked with the company.\u003c/p>\n\u003cp>So, given that Gilman appears to have spent his life working in both music and technology, the question has to be asked: Could this oil project of his ever, if developed, bear fruit?\u003c/p>\n\u003cp>Sanat Kumar, professor of chemical engineering at Columbia, tells NPR that Gilman’s oil viscosity technology is “not out of the realm of possibility, but very unlikely. To reduce a liquid’s viscosity you would need to apply sound at frequencies comparable to or faster than that of the liquid molecule — a molecule in a liquid is bouncing around like a dust particle in a beam of light, only much, much more rapidly. These frequencies are much too high, something like 10\u003csup>9\u003c/sup> or 10\u003csup>10\u003c/sup> Hz – remember that humans only hear between 20 and 20,000 Hz. At these frequencies you will cause cavitation in the liquid that could cause damage and possibly destroy whatever [is] carrying the oil.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cNad5dsIKAU\" target=\"_blank\" rel=\"noopener\">a trailer for \u003cem>Ocean Odyssey\u003c/em>\u003c/a>, a voice-over explains: “Paul Gilman’s calling will bring him face to face with a defining moment that will help us all realize how little we know, how much we have to learn. A moment that will inspire us to believe in those things we can’t prove with research and statistics. Things that can only be explained with our hearts.” \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=Musician+And+%27Whale+Whisperer%27+Sued+For+Defrauding+Investors+Of+%243.3+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New Age composer, rock music producer, entrepreneur and filmmaker Paul Gilman, who produced a film about using music to communicate with ocean mammals, is being sued by the Securities and Exchange Commission for allegedly defrauding 40 investors of $3.3 million over the course of three years.\u003c/p>\n\u003cp>Filed Monday in Texas federal court, \u003ca href=\"https://www.sec.gov/litigation/complaints/2018/comp24156.pdf\">the SEC’s suit\u003c/a> against Paul Gilman, who it says refers to himself as a “whale whisperer,” accuses him of misleading investors in his three companies, GilmanSound, WaveTech and Oil Migration Group (OMG). GIlman claimed that OMG had developed “revolutionary technology based on ‘sonication’ that would transform the oil and gas industry by using soundwaves to cheaply and effectively lower the viscosity of oil,” according to the complaint, which would presumably lower the cost of oil distribution and processing. With WaveTech, Gilman claimed to have developed a separate sound-based technology for water separation and purification of oil, the SEC alleges.\u003c/p>\n\u003cp>Multiple attempts to contact Gilman’s representation, Dallas-based attorney John Teakell, were not returned. Teakell did give \u003ca href=\"https://www.usatoday.com/story/money/2018/06/05/whale-whisperer-charged-3-million-financial-scam-sec/672510002/\" target=\"_blank\" rel=\"noopener\">a statement to \u003cem>USA Today\u003c/em>\u003c/a> on Tuesday however, saying his client “believes that the evidence will show that the subject technology was being developed and continued to be developed. Therefore, he had no intent to defraud anyone.” Multiple attempts to contact WaveTech were not returned. Calls to Raymond McGlamery, the registered agent of Oil Migration Group, were also not returned.\u003c/p>\n\u003cp>The SEC claims Gilman misled several individuals about what their investments would be used for, and that he instead spent the funding on travel, designer clothes and cash withdrawals at casinos. Those investors included a nurse in Dallas, from whom he is said to have taken $540,000, a psychology professor in Parker, Texas,. from whom he received $60,000 and a church minister in Franklin, Tenn., who gave him $100,000. The latter received a repayment of $100,000 after he became “disillusioned with Gilman” and asked for his money back, which the SEC refers to as a “Ponzi payment” — besides that Ponzi payment and a separate legal settlement, the government claims no money raised by Gilman was ever returned to investors.\u003c/p>\n\u003cp>The companies were the most recent in a long line of projects related to sound and music from Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While GilmanSound’s exact purpose isn’t clear — \u003ca href=\"https://www.sportsvideo.org/2014/06/03/gilmansounds-black-box-audio-processor-attracts-nfl-mlb-attention/\" target=\"_blank\" rel=\"noopener\">a report on its work from 2014\u003c/a> said Gilman was “coy about how the system works” — it was founded in order to improve the audio of sports stadiums, and secured at least two clients, both in Texas, that NPR could confirm. And the work it did still gets a thumbs-up from at least one of its customers.\u003c/p>\n\u003cp>“In 2011, the Texas Rangers purchased equipment and paid for service from GilmanSound to improve the audio system in the Globe Life Park seating bowl,” says John Blake, executive vice president for the Texas Rangers, in a statement to NPR. “The work certainly enhanced the sound, especially as it pertained to the audio on the video boards and the ballpark speakers. Our dealings with GilmanSound have been very professional. Other than that, we really have no other comment.”\u003c/p>\n\u003cp>The Houston Astros declined a request to comment, but did confirm that Minute Maid Park, its home stadium, also installed technology from GilmanSound. However, the SEC accuses Gilman of misappropriating investor funds from GilmanSound as well, after it “failed to perform” — NPR was unable to find up-to-date contact information for GilmanSound.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=ZXvEzV0eisU\" target=\"_blank\" rel=\"noopener\">a 2015 interview\u003c/a> with author\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Alena Chapman, Gilman explained his work with whales and dolphins, which eventually led to the 2004 film \u003ca href=\"https://www.imdb.com/title/tt0447676/\" target=\"_blank\" rel=\"noopener\">\u003cem>Ocean Odyssey\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>During that interview, Gilman said he was led to the project after receiving a call while working with John Phillips, of The Mamas and The Papas. “I’m in a studio with Papa John Phillips, producing for him … I get this call from a gentleman named [indecipherable] from Hawaii, and he’s a kahuna, a medicine man, who had heard my music through friends. He called up and said ‘You are the one who will carry the message to the whales and dolphins, you must be here tomorrow.’ I looked at John and said, ‘I have to go now.’ ” Gilman goes on to explain how he cultivated a relationship with that kahuna, which led him to research direct communication, through music, with whales and dolphins.\u003c/p>\n\u003cp>Ten years before \u003cem>Ocean Odyssey\u003c/em>, Gilman released an album of ocean-themed ambient music, \u003ca href=\"https://www.allmusic.com/album/uncharted-seas-mw0000884949\">\u003cem>Uncharted Seas\u003c/em>\u003c/a>. That album was followed in 1997 by another New Age record, \u003ca href=\"https://www.amazon.com/Other-Side-Paul-Gilman/dp/B000003TJC/ref=ntt_mus_ep_dpi_2\" target=\"_blank\" rel=\"noopener\">\u003cem>From the Other Side\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In that same 2015 interview, Gilman claimed to have worked with Apple on audio technologies alongside the engineer John Worthington, who did not respond to a request for confirmation. Apple did not immediately respond to a request for confirmation that Gilman had worked with the company.\u003c/p>\n\u003cp>So, given that Gilman appears to have spent his life working in both music and technology, the question has to be asked: Could this oil project of his ever, if developed, bear fruit?\u003c/p>\n\u003cp>Sanat Kumar, professor of chemical engineering at Columbia, tells NPR that Gilman’s oil viscosity technology is “not out of the realm of possibility, but very unlikely. To reduce a liquid’s viscosity you would need to apply sound at frequencies comparable to or faster than that of the liquid molecule — a molecule in a liquid is bouncing around like a dust particle in a beam of light, only much, much more rapidly. These frequencies are much too high, something like 10\u003csup>9\u003c/sup> or 10\u003csup>10\u003c/sup> Hz – remember that humans only hear between 20 and 20,000 Hz. At these frequencies you will cause cavitation in the liquid that could cause damage and possibly destroy whatever [is] carrying the oil.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cNad5dsIKAU\" target=\"_blank\" rel=\"noopener\">a trailer for \u003cem>Ocean Odyssey\u003c/em>\u003c/a>, a voice-over explains: “Paul Gilman’s calling will bring him face to face with a defining moment that will help us all realize how little we know, how much we have to learn. A moment that will inspire us to believe in those things we can’t prove with research and statistics. Things that can only be explained with our hearts.” \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=Musician+And+%27Whale+Whisperer%27+Sued+For+Defrauding+Investors+Of+%243.3+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Facebook's New Features Encourage Users to Telegraph Their Music Taste",
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"content": "\u003cp>What do you go to Facebook for? Given how many of us use it — 68 percent of Americans, according to the Pew Research Center, with 74 percent of them visiting the site at least once a day — it’s striking that, anecdotally at least, using the site evokes a sort of dissociative muscle memory, the ritual of dutifully giving posts from family and close-enough friends a thumbs-up.\u003c/p>\n\u003cp>Bringing joy to our lives would seem to be an existential priority for social media companies, whose stated goal is to facilitate connection and community — but which, \u003ca href=\"https://www.apa.org/news/press/releases/stress/2017/technology-social-media.PDF\" target=\"_blank\" rel=\"noopener\">by some measures\u003c/a>, have the opposite effect, driving us further into ourselves. Squaring this circle isn’t easy — and it probably won’t be helped along much by Facebook’s announcement on Tuesday that it is more deeply integrating music into its platform.\u003c/p>\n\u003cp>“Together with our amazing music partners, we’ve been building a foundation for new music experiences on Facebook,” the company’s head of music partnerships, Tamara Hrivnak, \u003ca href=\"https://www.facebook.com/tamara.hrivnak/posts/10155377184852385\" target=\"_blank\" rel=\"noopener\">posted yesterday\u003c/a>, alluding to the \u003ca href=\"https://www.facebook.com/facebookmedia/blog/building-community-together-with-music/\" target=\"_blank\" rel=\"noopener\">many deals\u003c/a> the company has struck \u003ca href=\"https://www.facebook.com/facebookmedia/blog/a-diverse-music-community-is-a-very-good-thing/\" target=\"_blank\" rel=\"noopener\">with the music industry\u003c/a> since she first started there in January 2017.\u003c/p>\n\u003cp>The company announced two new features on Tuesday. One is “Lip Sync Live,” a classic Facebook carbon-copying of another company’s core usefulness — in this case, the sing-along app Musical.ly, which \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563290820/chinese-firm-buying-lip-sync-app-musical-ly-for-up-to-1-billion\" target=\"_blank\" rel=\"noopener\">sold to a Chinese company for $1 billion\u003c/a> last fall and is said to be used by half of America’s children. With it, folks can turn their smartphone camera on themselves as they karaoke away to a song of their choosing. The other announcement on Tuesday was a new option to legally include music on video uploads; now, finally, Ed Sheeran can soundtrack the evidence of your beer pong tournament.\u003c/p>\n\u003cp>Both moves are safe bets, early toe-dips into what Facebook promises will be more music-related features in the future. And like the Spotify integration that Facebook subsidiary Instagram \u003ca href=\"https://artists.spotify.com/blog/we%27ve-made-it-easier-to-share-spotify-to-instagram-stories\" target=\"_blank\" rel=\"noopener\">just released\u003c/a>, which allows people to post what they’re listening to on Spotify to their “Story” (another \u003ca href=\"https://www.nytimes.com/2016/08/03/technology/instagram-stories-snapchat-facebook.html\" target=\"_blank\" rel=\"noopener\">copycat feature\u003c/a>, this time from Snapchat), they point to the performative nature of social media. The new features are there to telegraph taste, or to augment self-expression through it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting aside your feelings about these platforms and their capacity to be \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">culturally\u003c/a> or \u003ca href=\"https://www.npr.org/2018/06/06/617530138/facebooks-data-sharing-deals-included-huawei-under-u-s-suspicion-since-2012\" target=\"_blank\" rel=\"noopener\">geopolitically\u003c/a> \u003ca href=\"https://www.npr.org/2017/09/07/549184076/facebooks-russia-ads-could-be-tip-of-the-iceberg-warns-senate-intel-dem\" target=\"_blank\" rel=\"noopener\">problematic\u003c/a>, there’s nothing wrong with sharing what you’re listening to: adding a hilariously counterintuitive backing track to your birthday party video, or broadcasting yourself live while singing whatever-it-may-be. Music has been a product since the player piano. But in the digital age, our preferences are mines — and the more information we share about ourselves, the richer our veins become for those with the means to extract it. With every new feature meant to connect joy to those preferences (laid over with a patina of promotion for the artists being sung along to), it’s become a matter of mental health to wonder if it’s really all that fun, or just for show. \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=Facebook%27s+New+Features+Encourage+Users+To+Telegraph+Their+Music+Taste&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you go to Facebook for? Given how many of us use it — 68 percent of Americans, according to the Pew Research Center, with 74 percent of them visiting the site at least once a day — it’s striking that, anecdotally at least, using the site evokes a sort of dissociative muscle memory, the ritual of dutifully giving posts from family and close-enough friends a thumbs-up.\u003c/p>\n\u003cp>Bringing joy to our lives would seem to be an existential priority for social media companies, whose stated goal is to facilitate connection and community — but which, \u003ca href=\"https://www.apa.org/news/press/releases/stress/2017/technology-social-media.PDF\" target=\"_blank\" rel=\"noopener\">by some measures\u003c/a>, have the opposite effect, driving us further into ourselves. Squaring this circle isn’t easy — and it probably won’t be helped along much by Facebook’s announcement on Tuesday that it is more deeply integrating music into its platform.\u003c/p>\n\u003cp>“Together with our amazing music partners, we’ve been building a foundation for new music experiences on Facebook,” the company’s head of music partnerships, Tamara Hrivnak, \u003ca href=\"https://www.facebook.com/tamara.hrivnak/posts/10155377184852385\" target=\"_blank\" rel=\"noopener\">posted yesterday\u003c/a>, alluding to the \u003ca href=\"https://www.facebook.com/facebookmedia/blog/building-community-together-with-music/\" target=\"_blank\" rel=\"noopener\">many deals\u003c/a> the company has struck \u003ca href=\"https://www.facebook.com/facebookmedia/blog/a-diverse-music-community-is-a-very-good-thing/\" target=\"_blank\" rel=\"noopener\">with the music industry\u003c/a> since she first started there in January 2017.\u003c/p>\n\u003cp>The company announced two new features on Tuesday. One is “Lip Sync Live,” a classic Facebook carbon-copying of another company’s core usefulness — in this case, the sing-along app Musical.ly, which \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563290820/chinese-firm-buying-lip-sync-app-musical-ly-for-up-to-1-billion\" target=\"_blank\" rel=\"noopener\">sold to a Chinese company for $1 billion\u003c/a> last fall and is said to be used by half of America’s children. With it, folks can turn their smartphone camera on themselves as they karaoke away to a song of their choosing. The other announcement on Tuesday was a new option to legally include music on video uploads; now, finally, Ed Sheeran can soundtrack the evidence of your beer pong tournament.\u003c/p>\n\u003cp>Both moves are safe bets, early toe-dips into what Facebook promises will be more music-related features in the future. And like the Spotify integration that Facebook subsidiary Instagram \u003ca href=\"https://artists.spotify.com/blog/we%27ve-made-it-easier-to-share-spotify-to-instagram-stories\" target=\"_blank\" rel=\"noopener\">just released\u003c/a>, which allows people to post what they’re listening to on Spotify to their “Story” (another \u003ca href=\"https://www.nytimes.com/2016/08/03/technology/instagram-stories-snapchat-facebook.html\" target=\"_blank\" rel=\"noopener\">copycat feature\u003c/a>, this time from Snapchat), they point to the performative nature of social media. The new features are there to telegraph taste, or to augment self-expression through it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting aside your feelings about these platforms and their capacity to be \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">culturally\u003c/a> or \u003ca href=\"https://www.npr.org/2018/06/06/617530138/facebooks-data-sharing-deals-included-huawei-under-u-s-suspicion-since-2012\" target=\"_blank\" rel=\"noopener\">geopolitically\u003c/a> \u003ca href=\"https://www.npr.org/2017/09/07/549184076/facebooks-russia-ads-could-be-tip-of-the-iceberg-warns-senate-intel-dem\" target=\"_blank\" rel=\"noopener\">problematic\u003c/a>, there’s nothing wrong with sharing what you’re listening to: adding a hilariously counterintuitive backing track to your birthday party video, or broadcasting yourself live while singing whatever-it-may-be. Music has been a product since the player piano. But in the digital age, our preferences are mines — and the more information we share about ourselves, the richer our veins become for those with the means to extract it. With every new feature meant to connect joy to those preferences (laid over with a patina of promotion for the artists being sung along to), it’s become a matter of mental health to wonder if it’s really all that fun, or just for show. \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=Facebook%27s+New+Features+Encourage+Users+To+Telegraph+Their+Music+Taste&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dresses Flutter on Drones in Saudi Fashion Show, But Critics Aren't Buying It",
"headTitle": "Dresses Flutter on Drones in Saudi Fashion Show, But Critics Aren’t Buying It | KQED",
"content": "\u003cp>A fashion show in Jeddah, Saudi Arabia, that used drones to walk clothes down a runway has been ripped apart by Arab fashion elites and critics who compared the dresses to ghosts and dementors.\u003c/p>\n\u003cp>Ali Nabil Akbar tells \u003ca href=\"http://www.bbc.com/arabic/media-44387837\" target=\"_blank\" rel=\"noopener\">BBC Arabic \u003c/a>he thought showing the dresses via drone during the Saturday show at Hilton Hotel was “suitable for Ramadan.”\u003c/p>\n\u003cp>“The idea is that we want to add things that are simple yet beautiful,” Akbar tells the BBC. “Even the décor and set-up of the hall was organized beautifully, everything involved innovation.”\u003c/p>\n\u003cp>https://twitter.com/jinakhoushnaw/status/1004463889130622976\u003c/p>\n\u003cp>Footage shows a black floor-length dress fluttering across a hotel ballroom, its sleeves rustling under chandeliers and above the heads of men in long white robes and checked red and white headscarves. A green dress follows on a black hanger, while the drone’s loud buzz competes with the soft music playing in the background.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show in the western port city came weeks after the Saudi capital Riyadh hosted its first-ever Arab Fashion Week. NPR’s Jackie Northam and Fatma Tanis \u003ca href=\"https://www.npr.org/sections/parallels/2018/04/13/601972541/saudi-arabias-first-arab-fashion-week-kicks-off-beyond-fashionably-late\" target=\"_blank\" rel=\"noopener\">covered \u003c/a>the April event, which featured models wearing clothes by Jean Paul Gaultier and other designers from around the world:\u003c/p>\n\u003cblockquote>\n\u003cp>“The first gowns by designers like Lebanon’s Tony Ward and Bibisara from Kazakhstan were ultra-feminine — with long trains and an emphasis on sequins, feathers and beads…\u003c/p>\n\u003cp>“Saudi women regularly attend fashion weeks in New York, Paris and Milan. But the kingdom is still highly conservative and there are restrictions on what types of clothes can be exhibited at the Riyadh show — no cleavage, nothing above the knee and nothing too transparent. The audience was female only.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Jacob Abrian, the founder and CEO of the Dubai-based Arab Fashion Council that organized the Riyadh event, said at the time that Saudia Arabia was the most important market in the Arab region for fashion because of its young population with high purchasing power. He writes NPR in an email that Arab Fashion Week reflected “the serious steps taken to reform the country.”\u003c/p>\n\u003cp>However, Abrian pans the drone catwalk. He notes that Dolce & Gabbana recently used drones for the first time in history in their 2018 show of handbags and accessories.\u003c/p>\n\u003cp>“The latest show in Saudi Arabia has copied D&G innovative idea in a very bad quality which absolutely doesn’t reflect the vision and standards of the Arab Fashion Council,” Abrian writes NPR.\u003c/p>\n\u003cp>Twitter users piled on the scorn after London student Jina Khoushnaw \u003ca href=\"https://twitter.com/jinakhoushnaw/status/1004463889130622976?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Fpreview%2FtwitterPreview.php%3FtweetId%3D1004463889130622976%26hideMedia%3Dtrue\" target=\"_blank\" rel=\"noopener\">tweeted \u003c/a>a video of the event she found on YouTube. Khoushnaw writes NPR that she posted it because she thought the show was “creative, different and extremely amusing too.”\u003c/p>\n\u003cp>https://twitter.com/TheSanPlanet/status/1004525536259997696\u003c/p>\n\u003cp>One user \u003ca href=\"https://twitter.com/TheSanPlanet/status/1004525536259997696\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> that he didn’t know “if they’re living in 3018 or 1018.”\u003c/p>\n\u003cp>Another calls it a ghost show and a third writes a dress reminded her of “\u003ca href=\"https://twitter.com/itshvda/status/1004475988426743808\" target=\"_blank\" rel=\"noopener\">dementors from Harry Potter\u003c/a>.”\u003c/p>\n\u003cp>https://twitter.com/itshvda/status/1004475988426743808\u003c/p>\n\u003cp>The April fashion event was a mark of reform in Saudi Arabia. Recently, the kingdom has allowed cinemas to open and granted women permission to obtain drivers licenses. The change is an initiative of Crown Prince Mohammed bin Salman, who has billed his reign as a time of renewal and innovation. However, many restrictions on women remain and the nation is strictly segregated by gender.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Abrian of Arab Fashion Week has said he plans to repeat his high-end fashion show in Riyadh in fall. \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=Dresses+Flutter+On+Drones+In+Saudi+Fashion+Show%2C+But+Critics+Aren%27t+Buying+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A fashion show in Jeddah, Saudi Arabia, that used drones to walk clothes down a runway has been ripped apart by Arab fashion elites and critics who compared the dresses to ghosts and dementors.\u003c/p>\n\u003cp>Ali Nabil Akbar tells \u003ca href=\"http://www.bbc.com/arabic/media-44387837\" target=\"_blank\" rel=\"noopener\">BBC Arabic \u003c/a>he thought showing the dresses via drone during the Saturday show at Hilton Hotel was “suitable for Ramadan.”\u003c/p>\n\u003cp>“The idea is that we want to add things that are simple yet beautiful,” Akbar tells the BBC. “Even the décor and set-up of the hall was organized beautifully, everything involved innovation.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show in the western port city came weeks after the Saudi capital Riyadh hosted its first-ever Arab Fashion Week. NPR’s Jackie Northam and Fatma Tanis \u003ca href=\"https://www.npr.org/sections/parallels/2018/04/13/601972541/saudi-arabias-first-arab-fashion-week-kicks-off-beyond-fashionably-late\" target=\"_blank\" rel=\"noopener\">covered \u003c/a>the April event, which featured models wearing clothes by Jean Paul Gaultier and other designers from around the world:\u003c/p>\n\u003cblockquote>\n\u003cp>“The first gowns by designers like Lebanon’s Tony Ward and Bibisara from Kazakhstan were ultra-feminine — with long trains and an emphasis on sequins, feathers and beads…\u003c/p>\n\u003cp>“Saudi women regularly attend fashion weeks in New York, Paris and Milan. But the kingdom is still highly conservative and there are restrictions on what types of clothes can be exhibited at the Riyadh show — no cleavage, nothing above the knee and nothing too transparent. The audience was female only.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Jacob Abrian, the founder and CEO of the Dubai-based Arab Fashion Council that organized the Riyadh event, said at the time that Saudia Arabia was the most important market in the Arab region for fashion because of its young population with high purchasing power. He writes NPR in an email that Arab Fashion Week reflected “the serious steps taken to reform the country.”\u003c/p>\n\u003cp>However, Abrian pans the drone catwalk. He notes that Dolce & Gabbana recently used drones for the first time in history in their 2018 show of handbags and accessories.\u003c/p>\n\u003cp>“The latest show in Saudi Arabia has copied D&G innovative idea in a very bad quality which absolutely doesn’t reflect the vision and standards of the Arab Fashion Council,” Abrian writes NPR.\u003c/p>\n\u003cp>Twitter users piled on the scorn after London student Jina Khoushnaw \u003ca href=\"https://twitter.com/jinakhoushnaw/status/1004463889130622976?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Fpreview%2FtwitterPreview.php%3FtweetId%3D1004463889130622976%26hideMedia%3Dtrue\" target=\"_blank\" rel=\"noopener\">tweeted \u003c/a>a video of the event she found on YouTube. Khoushnaw writes NPR that she posted it because she thought the show was “creative, different and extremely amusing too.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\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%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\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=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\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%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\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=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At a North Carolina nightclub in late May, a woman named Shaneera presided onstage, coyly flicking fake, nut-colored hair over her shoulders. Her eyes, super-sized by drag makeup, were visible from the back of the club as she chanted short spells in Arabic, while her music — all pandemonium and pummel — rattled the venue like a weak earthquake. Despite the diabolical display, when Shaneera looked out into the crowd, her gaze felt unexpectedly tender. At the end of her set, credits rolling behind her, she bowed, removed her wig and laughed herself offstage.\u003c/p>\n\u003cp>Shaneera is the latest incarnation of the Kuwait-born, Berlin-based U.K. bass producer Fatima Al Qadiri, a fascinating, often arch and wildly original artist who architects sound into concept-driven albums that bang as hard as they thoughtfully explore social theses she has, at least partially, retrofitted for the dance floor. For the last six years, these have revolved around\u003cstrong> \u003c/strong>the idea of the inexpressible – the what’s-lost-in-translation – via sonic sleights-of-hand.\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%3Aalbum%3A5c9LLqvlhoAZb4hhm7VqLz\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Take \u003cem>Brute\u003c/em>, a debilitating album that looked to recreate the specific, ineffable agony of mass cultural outrage toward law enforcement by sampling the exact type of sound cannon that police in Ferguson, Mo., used to control rioters. \u003cem>Asiatisch\u003c/em>, released a year prior, presented an “Orientalist’s vision of China” through made-up Mandarin phrases and clichéd pan-Asian chords. Her first EP, \u003cem>Desert Strike\u003c/em>, managed to simulate the terror of Operation Desert Storm by reconfiguring the sound effects of a first-person shooter game. Her latest, \u003cem>Shaneera\u003c/em>, builds upon pop star mythologies by way of a she-devil avatar, a figure born from drag that works as a meditation on the expression of queer identities in the Arab world.\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%3Aalbum%3A5LSrTT4RFJP36yFU8Cm5JH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If this all sounds a bit ambitious, that’s part of the point. Her artist statements map precise parameters onto the scope of each work, claiming narratives and establishing firm intent in an act that’s more manifesto than press release. Though knowing the exact premise of each album isn’t necessary to get a sense of her work’s depth, there is something admirable, maybe fundamental, in her control of electronic music’s bottomless well to illustrate her meticulously-wrought narratives. Her albums’ droning, doppling textures — all so ownably, blatantly Al Qadiri’s — muddle the distinction between club and theatre in a mode that’s consistently larger-than-life.\u003c/p>\n\u003cp>Al Qadiri and I saw one another in passing three times over the course of a weekend in Durham, North Carolina, where I found the seriousness in her work checked by the fact that she is hugely goofy in person, laughing easily and musically, with a habit of tending toward pretty, poetic detours blended with a permanent interest in – what she terms – “glibness and bulls***.”\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%3Aalbum%3A66pKCPaQnjhFEGBrKOIG2p\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“C***block has always one of my favorite words in English,” she says musingly, mid-way through a heavy-minded lecture titled “Non-Western Perspectives in Western Music Media,” during the electronic music festival Moogfest. “Because I haven’t heard a word in another language that more accurately — or, really, more beautifully — describes what a c***block does.”\u003c/p>\n\u003cp>This is a classic bit of Al Qadirian dialogue: indulgent, austere and obsessed with the overlooked. When she speaks, it is often about language itself, chronically invested as she is in its decomposition and abstraction. Part storyteller, part theoretician, she’s the Scheherazade of the electronic music world, chaining narrative and ideas together in the creation of her own universe.\u003c/p>\n\u003cp>On the final day of the festival, we met in an airy hotel restaurant in the heart of Durham. Dressed like an elegant newsboy visiting from the future (shin-length duster coat, ready-to-wear cottons from her friend, \u003ca href=\"http://www.telfar.net/\">Telfar Clemens\u003c/a>, and a tiny pair of sunglasses settled midway down the bridge of her nose), Al Qadiri delivered esoteria like a punchline, while destroying a glossy steak. She bloomed in response to questions which allowed her to spin yarns that stretched into symphonies of pop philosophy and personal narrative.\u003c/p>\n\u003cp>\u003cem>The following interview and has been edited and condensed.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>What did you originally find so enticing about electronic music-making? \u003c/strong>\u003c/p>\n\u003cp>It was the cheapest and easiest way to access and exercise a method of composition\u003cem>. \u003c/em>There was an itty-bitty Casio keyboard in my home in Kuwait growing up, and I used it to make these funny little ditties. It was a baby keyboard, but I was immediately obsessed with its sound. And, each year, with whatever Eid money I had, the keyboard slowly started expanding. It was totally out of necessity and boredom and utility. I also wanted to mimic and re-create the melodies that were coming out of all the video games I was playing — those were my endless fascination.\u003c/p>\n\u003cp>\u003cstrong>I often think of electronic music as something that’s almost overwhelmingly limitless. How did you impose limits, boundaries, or difficulties on the early music you were creating? \u003c/strong>\u003c/p>\n\u003cp>It was easy — the keyboard itself was limited. There’s only so much that you can do with an analog octave. I didn’t get into using a computer interface until I was in college, when I forced my way into an elective music composition course, finally had access to a studio and a computer, and, yes, quickly felt overwhelmed by it. I was used to the limitations of composing on an analog keyboard, recording it on cassette tape, then memorizing it, as opposed to the boundlessness of software. I think it was late in the year 2000 that I finally got my hands on a copy of [digital audio workstation and sequencer software] Logic Pro. Honestly, it took me ages to understand how to compose using it. I’m a Luddite, you know? I had no help, and it took years for me to become even semi-fluent in the program.\u003c/p>\n\u003cp>\u003cstrong>Where do you stand on the idea of an artist’s statement? No artists are required to say anything about their music, but much of your work, I’d argue, either comes with or merits a strong one. \u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>I think it’s about controlling the narrative of your work, which is something I actually want to do. Stating your intent can be important, especially when music is such an abstract language. I have a very clear narrative attachment to my work, and I want to be able to communicate that with some control. Each of my pieces is a short story; my father was obsessed with Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>, and I think my mother, a novelist, was a real-life Scheherazade too. She came from a chain of Persian storytellers.\u003c/p>\n\u003cp>\u003cstrong>Do you feel kin to Scheherazade as well? \u003c/strong>\u003c/p>\n\u003cp>Of course! I’ve always told stories to stay alive. And I love work with such a thematic, narrative bend to it. It’s almost a childlike impulse, I think. It’s about memory and preservation and legacy. It’s why I’m so obsessed with \u003cem>Revisionist History, \u003c/em>Malcom Gladwell’s podcast. His work discusses overlooked stories that somehow changed the course of history, and I adore the idea of what’s hidden right in front of us.\u003c/p>\n\u003cp>You know, I think if you’re creating some sort of narrative in an album, it’s worth putting it down and trying to articulate it and make it visible for others. Unfortunately, I’ve done only minimal writing in my day. I’ve always struggled with English, even though it’s my first language, in that I feel like I don’t and can never really \u003cem>own\u003c/em> it.\u003c/p>\n\u003cp>\u003cstrong>I think all writers go through their entire lives wrestling with that idea. \u003c/strong>\u003c/p>\n\u003cp>You know, I wish I could go even harder — even more HAM — with my work, and create a piece that’s somehow akin to a short story, where each track is as expansive as chapter. That’s a dream of mine.\u003c/p>\n\u003cp>\u003cstrong>Do you think very specifically about your audience? Either in who you’re making music for, or who’s checking it out?\u003c/strong>\u003c/p>\n\u003cp>Oh, no, not at all. That would be stunting. I make everything for myself. It’s a big diary — my body of work is just a huge journal. It’s a culmination of experiences and months and chapters in my history as a person. It’s homage, it’s memoir, and ultimately all autobiographical. Tie all these records together, and they each have something to do with periods in my life.\u003c/p>\n\u003cp>\u003cstrong>Would you say that \u003cem>Shaneera\u003c/em> is for everyone, or does that particular EP have a general audience in mind? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Shaneera\u003c/em> is admittedly different. There’s that Arabic language barrier, of course, but having said that, she’s found her audience. So many queer, non-Western music producers have gotten in touch with me since the announcement of the record, telling me that it’s been a huge inspiration for them to write in their own language. And that really touched me. I finally thought, “God, I’ve done the right thing.” It was eye-opening to see and hear how many producers were holding back for a number of reasons. For fear of tokenization, for fear of not gaining traction, for fear of being misunderstood or stereotyped.\u003c/p>\n\u003cp>Last night was my very first live performance as Shaneera, you know. I was so happy singing in Arabic for that crowd — that was the first time she’s come out of me.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t stop laughing at some moments. It was so joyous. It was pure drag!\u003c/strong>\u003c/p>\n\u003cp>Exactly. What is drag? It’s the performance of extreme gender. The thing that’s so interesting is that Shaneera’s supposed to be a fake Arab pop star. The thing is, Arab pop stars, like many pop stars around the world, are ultra-heteronormative icons. With some exceptions, they represent extreme femininity and extreme masculinity. So it’s so accurate to apply drag methodology to the sort of appropriated pop music I’m doing here.\u003c/p>\n\u003cp>\u003cstrong>I imagine much of your work lends itself to worlds of critical interpretation. Do you feel a degree of responsibility to correct assumptions made of your work? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13834435\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg\" alt=\"Fatima Al Qadiri, as Fatima Al Qadiri.\" width=\"200\" height=\"342\" class=\"size-full wp-image-13834435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052-160x274.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Fatima Al Qadiri, as Fatima Al Qadiri. \u003ccite>(Dom Smith/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I literally do it all the time.\u003c/p>\n\u003cp>\u003cstrong>I don’t think many artists do — or admit — that. \u003c/strong>\u003c/p>\n\u003cp>I do want to say it’s a losing battle sometimes, because I get the idea that whatever you put out into the world is honest. But there’s sometimes people out there that can be intentionally malicious, who want to change your narrative for their benefit. I can tell the difference between laziness and a hit job — and those people certainly exist. Especially being a particularly vocal woman of color… you know what I’m getting at here. You can be a target sometimes.\u003c/p>\n\u003cp>I’ve met so many women musicians around the world that refuse to release music for fear of being misinterpreted by white media. And I’m baffled. I’m blown away. This is how crippling the world of criticism can be. It’s terrifying, sometimes. It’s already tough enough to put something out there and make yourself vulnerable. Everything can be an act of joy and beauty until it gets put out. Then it can get dangerous.\u003c/p>\n\u003cp>Oh man, even for this record, my mother sat down with me and said, “Listen, girl. This record is in Arabic. It’s about \u003cem>this\u003c/em> subject? I’m going to listen to it, start to finish, and you’ll let me censor anything that would be too dangerous for you to include.”\u003c/p>\n\u003cp>\u003cstrong>That sense of obligation and duty to your mother sounds — as far as I can speak to — so endemically Middle Eastern. \u003c/strong>\u003c/p>\n\u003cp>Yes and no. My mother’s extraordinarily liberal — more liberal than other mothers, much less Mid-Eastern mothers, but what she did was right. She’s never interfered with my work before, and she lives in Kuwait. If anyone’s going to come for my work, they’re not going to go after me, they’re going to go after her. And she made me remove a few very graphic, sexually-explicit scenes from the album. I had to. Of course I had to! I’d be so undutiful, so ungrateful, if I didn’t do that for her.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I find that the need to correct “incorrect” interpretations of your work fascinating, especially because your music seems to constantly chase this idea of mistranslation. Have you always been fascinated by failure, or these impasses of intent and meaning?\u003c/strong>\u003c/p>\n\u003cp>I think so. The thing is, being rootless, and the idea of not fitting in — which I think most people feel — is compounded by that idea. It allows you to look at how things went wrong. It’s about hegemony, about power dynamics, about things that are inflicted upon us.\u003c/p>\n\u003cp>I was reading about this concept of “negative hallucination” earlier that might explain this a little better. A “positive hallucination” is when you see something that doesn’t exist. A “negative hallucination” is where you miss something that’s right in front of you. And I think this is the thing that I relate to most — the negative hallucination as the misinterpretation. Seeing things in front of you and not \u003cem>seeing\u003c/em> them.\u003c/p>\n\u003cp>\u003cstrong>That reminds me of something you’d spoken about yesterday during your lecture on the topic of semantic gaps. At the most literal level, some languages don’t have the capacity to understand something so natural in another language, only because its lexicon doesn’t accommodate for that idea.\u003c/strong>\u003c/p>\n\u003cp>I think every language has its own buffet of incredibly concise terminology. That’s why learning other languages is so incredible, because they hold ideas that don’t exist in the language that you grew up with, the language you natively speak, or the language you’ve created for yourself.\u003c/p>\n\u003cp>For instance, including the term “queer” in \u003cem>Shaneera\u003c/em>‘s press release really messed me up. There’s a lot of terminology for gender in a lot of other languages, but there’s no term for queer in Arabic. There’s no word for “heterosexual” in Arabic, either. Fixed sexuality, until recently, was a very Western concept. Queer, as a catch-all for this idea of non-binary gender – that’s new. So my friends almost edited it out of the press release, because they felt that the word “queer” wasn’t exactly true to the album. Ultimately, I left it in.\u003c/p>\n\u003cp>The thing is, Shaneera is a persona. She’s as non-binary as they come — she’s an evil spirit. An evil, queen spirit that can possess anything. Did you catch the credits that rolled behind me at the end of my show?\u003c/p>\n\u003cp>\u003cstrong>They were hilarious. So garish. \u003c/strong>\u003c/p>\n\u003cp>Yes! At the end of every major Arabic pop music video, there are these hilariously long credits. So I used that here — and I thanked Vincent Price, who’s obviously a vision of Shaneera, and Bette Davis, Joan Crawford, John Waters, Divine. I thanked a lot of people personally in my life, friends of mine, and obviously some Kuwaiti and Arab references — queers who shall not be named.\u003c/p>\n\u003cp>\u003cstrong>Can you elaborate on the tension between performing as an artist who interrogates non-Western ideas and as serving, for better or worse, as a de-facto “ambassador” of the Gulf in electronic music? \u003c/strong>\u003c/p>\n\u003cp>I’m so into the idea of the “nation as an apparition.” I think people from across the world have a deep sense of internalized nationalism, an ingrained idea that by coming from a country, you’re obligated to represent that country. And the smaller the country, the greater the stakes. To me, it’s similar to the idea of superiority; it’s a taunting, childlike, territorial idea. It’s denies humanity. It’s an impulse of media and artists alike.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I don’t consider myself a part of the diaspora because I’m still so bound to my culture, but at the same time, I’m still at a remove. I left Kuwait for a reason. In that, I think, I have new freedom. I can pick and choose what I want to use – I can appropriate where I came from. Those Kuwaiti drum samples, those Arab sounds, all the work I make — all of those things are mine now. I’ve claimed them. \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=Transgression%2C+Noise+And+Drag%3A+The+Creation+Of+A+Fake+Arab+Pop+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a North Carolina nightclub in late May, a woman named Shaneera presided onstage, coyly flicking fake, nut-colored hair over her shoulders. Her eyes, super-sized by drag makeup, were visible from the back of the club as she chanted short spells in Arabic, while her music — all pandemonium and pummel — rattled the venue like a weak earthquake. Despite the diabolical display, when Shaneera looked out into the crowd, her gaze felt unexpectedly tender. At the end of her set, credits rolling behind her, she bowed, removed her wig and laughed herself offstage.\u003c/p>\n\u003cp>Shaneera is the latest incarnation of the Kuwait-born, Berlin-based U.K. bass producer Fatima Al Qadiri, a fascinating, often arch and wildly original artist who architects sound into concept-driven albums that bang as hard as they thoughtfully explore social theses she has, at least partially, retrofitted for the dance floor. For the last six years, these have revolved around\u003cstrong> \u003c/strong>the idea of the inexpressible – the what’s-lost-in-translation – via sonic sleights-of-hand.\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%3Aalbum%3A5c9LLqvlhoAZb4hhm7VqLz\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Take \u003cem>Brute\u003c/em>, a debilitating album that looked to recreate the specific, ineffable agony of mass cultural outrage toward law enforcement by sampling the exact type of sound cannon that police in Ferguson, Mo., used to control rioters. \u003cem>Asiatisch\u003c/em>, released a year prior, presented an “Orientalist’s vision of China” through made-up Mandarin phrases and clichéd pan-Asian chords. Her first EP, \u003cem>Desert Strike\u003c/em>, managed to simulate the terror of Operation Desert Storm by reconfiguring the sound effects of a first-person shooter game. Her latest, \u003cem>Shaneera\u003c/em>, builds upon pop star mythologies by way of a she-devil avatar, a figure born from drag that works as a meditation on the expression of queer identities in the Arab world.\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%3Aalbum%3A5LSrTT4RFJP36yFU8Cm5JH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If this all sounds a bit ambitious, that’s part of the point. Her artist statements map precise parameters onto the scope of each work, claiming narratives and establishing firm intent in an act that’s more manifesto than press release. Though knowing the exact premise of each album isn’t necessary to get a sense of her work’s depth, there is something admirable, maybe fundamental, in her control of electronic music’s bottomless well to illustrate her meticulously-wrought narratives. Her albums’ droning, doppling textures — all so ownably, blatantly Al Qadiri’s — muddle the distinction between club and theatre in a mode that’s consistently larger-than-life.\u003c/p>\n\u003cp>Al Qadiri and I saw one another in passing three times over the course of a weekend in Durham, North Carolina, where I found the seriousness in her work checked by the fact that she is hugely goofy in person, laughing easily and musically, with a habit of tending toward pretty, poetic detours blended with a permanent interest in – what she terms – “glibness and bulls***.”\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%3Aalbum%3A66pKCPaQnjhFEGBrKOIG2p\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“C***block has always one of my favorite words in English,” she says musingly, mid-way through a heavy-minded lecture titled “Non-Western Perspectives in Western Music Media,” during the electronic music festival Moogfest. “Because I haven’t heard a word in another language that more accurately — or, really, more beautifully — describes what a c***block does.”\u003c/p>\n\u003cp>This is a classic bit of Al Qadirian dialogue: indulgent, austere and obsessed with the overlooked. When she speaks, it is often about language itself, chronically invested as she is in its decomposition and abstraction. Part storyteller, part theoretician, she’s the Scheherazade of the electronic music world, chaining narrative and ideas together in the creation of her own universe.\u003c/p>\n\u003cp>On the final day of the festival, we met in an airy hotel restaurant in the heart of Durham. Dressed like an elegant newsboy visiting from the future (shin-length duster coat, ready-to-wear cottons from her friend, \u003ca href=\"http://www.telfar.net/\">Telfar Clemens\u003c/a>, and a tiny pair of sunglasses settled midway down the bridge of her nose), Al Qadiri delivered esoteria like a punchline, while destroying a glossy steak. She bloomed in response to questions which allowed her to spin yarns that stretched into symphonies of pop philosophy and personal narrative.\u003c/p>\n\u003cp>\u003cem>The following interview and has been edited and condensed.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>What did you originally find so enticing about electronic music-making? \u003c/strong>\u003c/p>\n\u003cp>It was the cheapest and easiest way to access and exercise a method of composition\u003cem>. \u003c/em>There was an itty-bitty Casio keyboard in my home in Kuwait growing up, and I used it to make these funny little ditties. It was a baby keyboard, but I was immediately obsessed with its sound. And, each year, with whatever Eid money I had, the keyboard slowly started expanding. It was totally out of necessity and boredom and utility. I also wanted to mimic and re-create the melodies that were coming out of all the video games I was playing — those were my endless fascination.\u003c/p>\n\u003cp>\u003cstrong>I often think of electronic music as something that’s almost overwhelmingly limitless. How did you impose limits, boundaries, or difficulties on the early music you were creating? \u003c/strong>\u003c/p>\n\u003cp>It was easy — the keyboard itself was limited. There’s only so much that you can do with an analog octave. I didn’t get into using a computer interface until I was in college, when I forced my way into an elective music composition course, finally had access to a studio and a computer, and, yes, quickly felt overwhelmed by it. I was used to the limitations of composing on an analog keyboard, recording it on cassette tape, then memorizing it, as opposed to the boundlessness of software. I think it was late in the year 2000 that I finally got my hands on a copy of [digital audio workstation and sequencer software] Logic Pro. Honestly, it took me ages to understand how to compose using it. I’m a Luddite, you know? I had no help, and it took years for me to become even semi-fluent in the program.\u003c/p>\n\u003cp>\u003cstrong>Where do you stand on the idea of an artist’s statement? No artists are required to say anything about their music, but much of your work, I’d argue, either comes with or merits a strong one. \u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>I think it’s about controlling the narrative of your work, which is something I actually want to do. Stating your intent can be important, especially when music is such an abstract language. I have a very clear narrative attachment to my work, and I want to be able to communicate that with some control. Each of my pieces is a short story; my father was obsessed with Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>, and I think my mother, a novelist, was a real-life Scheherazade too. She came from a chain of Persian storytellers.\u003c/p>\n\u003cp>\u003cstrong>Do you feel kin to Scheherazade as well? \u003c/strong>\u003c/p>\n\u003cp>Of course! I’ve always told stories to stay alive. And I love work with such a thematic, narrative bend to it. It’s almost a childlike impulse, I think. It’s about memory and preservation and legacy. It’s why I’m so obsessed with \u003cem>Revisionist History, \u003c/em>Malcom Gladwell’s podcast. His work discusses overlooked stories that somehow changed the course of history, and I adore the idea of what’s hidden right in front of us.\u003c/p>\n\u003cp>You know, I think if you’re creating some sort of narrative in an album, it’s worth putting it down and trying to articulate it and make it visible for others. Unfortunately, I’ve done only minimal writing in my day. I’ve always struggled with English, even though it’s my first language, in that I feel like I don’t and can never really \u003cem>own\u003c/em> it.\u003c/p>\n\u003cp>\u003cstrong>I think all writers go through their entire lives wrestling with that idea. \u003c/strong>\u003c/p>\n\u003cp>You know, I wish I could go even harder — even more HAM — with my work, and create a piece that’s somehow akin to a short story, where each track is as expansive as chapter. That’s a dream of mine.\u003c/p>\n\u003cp>\u003cstrong>Do you think very specifically about your audience? Either in who you’re making music for, or who’s checking it out?\u003c/strong>\u003c/p>\n\u003cp>Oh, no, not at all. That would be stunting. I make everything for myself. It’s a big diary — my body of work is just a huge journal. It’s a culmination of experiences and months and chapters in my history as a person. It’s homage, it’s memoir, and ultimately all autobiographical. Tie all these records together, and they each have something to do with periods in my life.\u003c/p>\n\u003cp>\u003cstrong>Would you say that \u003cem>Shaneera\u003c/em> is for everyone, or does that particular EP have a general audience in mind? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Shaneera\u003c/em> is admittedly different. There’s that Arabic language barrier, of course, but having said that, she’s found her audience. So many queer, non-Western music producers have gotten in touch with me since the announcement of the record, telling me that it’s been a huge inspiration for them to write in their own language. And that really touched me. I finally thought, “God, I’ve done the right thing.” It was eye-opening to see and hear how many producers were holding back for a number of reasons. For fear of tokenization, for fear of not gaining traction, for fear of being misunderstood or stereotyped.\u003c/p>\n\u003cp>Last night was my very first live performance as Shaneera, you know. I was so happy singing in Arabic for that crowd — that was the first time she’s come out of me.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t stop laughing at some moments. It was so joyous. It was pure drag!\u003c/strong>\u003c/p>\n\u003cp>Exactly. What is drag? It’s the performance of extreme gender. The thing that’s so interesting is that Shaneera’s supposed to be a fake Arab pop star. The thing is, Arab pop stars, like many pop stars around the world, are ultra-heteronormative icons. With some exceptions, they represent extreme femininity and extreme masculinity. So it’s so accurate to apply drag methodology to the sort of appropriated pop music I’m doing here.\u003c/p>\n\u003cp>\u003cstrong>I imagine much of your work lends itself to worlds of critical interpretation. Do you feel a degree of responsibility to correct assumptions made of your work? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13834435\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg\" alt=\"Fatima Al Qadiri, as Fatima Al Qadiri.\" width=\"200\" height=\"342\" class=\"size-full wp-image-13834435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/fatima-al-qadiri-by-dom-smith-hi-res-2_custom-8b3304bd52bcc1b416d9b6d336c2db12090f2052-160x274.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Fatima Al Qadiri, as Fatima Al Qadiri. \u003ccite>(Dom Smith/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I literally do it all the time.\u003c/p>\n\u003cp>\u003cstrong>I don’t think many artists do — or admit — that. \u003c/strong>\u003c/p>\n\u003cp>I do want to say it’s a losing battle sometimes, because I get the idea that whatever you put out into the world is honest. But there’s sometimes people out there that can be intentionally malicious, who want to change your narrative for their benefit. I can tell the difference between laziness and a hit job — and those people certainly exist. Especially being a particularly vocal woman of color… you know what I’m getting at here. You can be a target sometimes.\u003c/p>\n\u003cp>I’ve met so many women musicians around the world that refuse to release music for fear of being misinterpreted by white media. And I’m baffled. I’m blown away. This is how crippling the world of criticism can be. It’s terrifying, sometimes. It’s already tough enough to put something out there and make yourself vulnerable. Everything can be an act of joy and beauty until it gets put out. Then it can get dangerous.\u003c/p>\n\u003cp>Oh man, even for this record, my mother sat down with me and said, “Listen, girl. This record is in Arabic. It’s about \u003cem>this\u003c/em> subject? I’m going to listen to it, start to finish, and you’ll let me censor anything that would be too dangerous for you to include.”\u003c/p>\n\u003cp>\u003cstrong>That sense of obligation and duty to your mother sounds — as far as I can speak to — so endemically Middle Eastern. \u003c/strong>\u003c/p>\n\u003cp>Yes and no. My mother’s extraordinarily liberal — more liberal than other mothers, much less Mid-Eastern mothers, but what she did was right. She’s never interfered with my work before, and she lives in Kuwait. If anyone’s going to come for my work, they’re not going to go after me, they’re going to go after her. And she made me remove a few very graphic, sexually-explicit scenes from the album. I had to. Of course I had to! I’d be so undutiful, so ungrateful, if I didn’t do that for her.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I find that the need to correct “incorrect” interpretations of your work fascinating, especially because your music seems to constantly chase this idea of mistranslation. Have you always been fascinated by failure, or these impasses of intent and meaning?\u003c/strong>\u003c/p>\n\u003cp>I think so. The thing is, being rootless, and the idea of not fitting in — which I think most people feel — is compounded by that idea. It allows you to look at how things went wrong. It’s about hegemony, about power dynamics, about things that are inflicted upon us.\u003c/p>\n\u003cp>I was reading about this concept of “negative hallucination” earlier that might explain this a little better. A “positive hallucination” is when you see something that doesn’t exist. A “negative hallucination” is where you miss something that’s right in front of you. And I think this is the thing that I relate to most — the negative hallucination as the misinterpretation. Seeing things in front of you and not \u003cem>seeing\u003c/em> them.\u003c/p>\n\u003cp>\u003cstrong>That reminds me of something you’d spoken about yesterday during your lecture on the topic of semantic gaps. At the most literal level, some languages don’t have the capacity to understand something so natural in another language, only because its lexicon doesn’t accommodate for that idea.\u003c/strong>\u003c/p>\n\u003cp>I think every language has its own buffet of incredibly concise terminology. That’s why learning other languages is so incredible, because they hold ideas that don’t exist in the language that you grew up with, the language you natively speak, or the language you’ve created for yourself.\u003c/p>\n\u003cp>For instance, including the term “queer” in \u003cem>Shaneera\u003c/em>‘s press release really messed me up. There’s a lot of terminology for gender in a lot of other languages, but there’s no term for queer in Arabic. There’s no word for “heterosexual” in Arabic, either. Fixed sexuality, until recently, was a very Western concept. Queer, as a catch-all for this idea of non-binary gender – that’s new. So my friends almost edited it out of the press release, because they felt that the word “queer” wasn’t exactly true to the album. Ultimately, I left it in.\u003c/p>\n\u003cp>The thing is, Shaneera is a persona. She’s as non-binary as they come — she’s an evil spirit. An evil, queen spirit that can possess anything. Did you catch the credits that rolled behind me at the end of my show?\u003c/p>\n\u003cp>\u003cstrong>They were hilarious. So garish. \u003c/strong>\u003c/p>\n\u003cp>Yes! At the end of every major Arabic pop music video, there are these hilariously long credits. So I used that here — and I thanked Vincent Price, who’s obviously a vision of Shaneera, and Bette Davis, Joan Crawford, John Waters, Divine. I thanked a lot of people personally in my life, friends of mine, and obviously some Kuwaiti and Arab references — queers who shall not be named.\u003c/p>\n\u003cp>\u003cstrong>Can you elaborate on the tension between performing as an artist who interrogates non-Western ideas and as serving, for better or worse, as a de-facto “ambassador” of the Gulf in electronic music? \u003c/strong>\u003c/p>\n\u003cp>I’m so into the idea of the “nation as an apparition.” I think people from across the world have a deep sense of internalized nationalism, an ingrained idea that by coming from a country, you’re obligated to represent that country. And the smaller the country, the greater the stakes. To me, it’s similar to the idea of superiority; it’s a taunting, childlike, territorial idea. It’s denies humanity. It’s an impulse of media and artists alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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