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"content": "\u003cp>\u003cstrong>Updated at 9:58 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Harvey Weinstein surrendered Friday to authorities at a police station in New York City, where the former Hollywood megaproducer has been charged with rape and sexual misconduct.\u003c/p>\n\u003cp>Weinstein arrived early in the morning at the New York Police Department’s 1st Precinct in Lower Manhattan, ushered into the station by law enforcement officers as members of the media crowded behind metal barriers. He kept his gaze lowered amid a barrage of shouted questions.\u003c/p>\n\u003cp>Once inside, Weinstein was charged with one count each of first- and third-degree rape, as well as first-degree criminal sex act. The felony charges concern “forcible sexual acts against two women in 2013 and 2004, respectively,” the Manhattan District Attorney’s Office announced Friday.\u003c/p>\n\u003cp>“Today’s charges reflect significant progress in this active, ongoing investigation,” District Attorney Cyrus Vance said in a statement. “I thank the brave survivors who have come forward, and my Office’s prosecutors who have worked tirelessly on this investigation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\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=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\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=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "London Calling (Occupants Of Interplanetary Craft): 'How To Talk To Girls At Parties'",
"headTitle": "London Calling (Occupants Of Interplanetary Craft): ‘How To Talk To Girls At Parties’ | KQED",
"content": "\u003cp>\u003cem>Men Are From From Mars, Women Are From Venus,\u003c/em> a best-selling early-’90s relationships guidebook argued. \u003cem>How to Talk to Girls at Parties,\u003c/em> a sweet, slight comic fantasy expanded from an early-aughts Neil Gaiman short story, knows the truth is far more complex: Men and Women Are from Earth, Members of an Advanced Extraterrestrial Species on a Reconnaissance Mission Here While Temporarily Wearing the Bodies of Men and Women are from… well, we never find out where they’re from, exactly. But every planet has its misfits. \u003c/p>\n\u003cp>\u003cem>How to Talk to Girls\u003c/em> is set in the South London borough of Croydon, which matters a little, and in 1977, which matters a lot. (The film was shot in Sheffield, perhaps because it looks more like late-seventies Croydon than present-day Croydon does.) Punk is in full, safety-pinned bloom. Adolescent cartoonist En (Broadway veteran Alex Sharp) publishes a fanzine, \u003cem>Virus\u003c/em>, with his two mates; they’re regulars at a club/art space run by Queen Boadicea, the grande dame dowager of this small pond. The Queen is played with a not-quite-maternal wariness by Nicole Kidman, punked out like Daryl Hannah in \u003cem>Blade Runner\u003c/em>—which was of course made by a Brit right around the time punk was hitting its hard-coded termination date.\u003c/p>\n\u003cp>https://youtu.be/nWzHaRM8jeo\u003c/p>\n\u003cp>Seeking another grimy rock-club party, the three boys find themselves instead Pied-Pipered towards a modernist Warholian Exploding Plastic Inevitable-type-deal in a handsome old manor house. The music sounds more like Kraftwerk than the Sex Pistols or the Damned. Most of the revelers are performing an elaborate group dance; all are dressed in color-coded body-hugging latex. En’s swaggering pal Vic (Abraham Lewis) goes straight for Stella (Ruth Wilson), the most sexually assertive girl at the dance. But being the more bashful, inquisitive sort—the kind who grow up to be writers—En ends up chatting with Zan (Elle Fanning), who’s grown weary of the Prime Directive-type-regulations governing her exposure to earthlings while she’s here on Earth. Their meet-cute leaves Zan with a slightly flummoxed vocabulary, wherein the kinds of worldly experiences she seeks are collectively referred to as “punk.” \u003c/p>\n\u003cp>That’s roughly where Gaiman’s story leaves it. But director John Cameron Mitchell (\u003cem>Hedwig and the Angry Inch\u003c/em>, \u003cem>Shortbus\u003c/em>) and co-screenwriter Philippa Goslett have tricked out the tale with a proper beginning and ending, and populated it with appealingly dimensional people and aliens. They’ve added Kidman’s character, as well as the marvelous Joanna Scanlan as En’s lonely single mum—who still, as she is moved to remind even her own ungrateful boy, has a clitoris. On the other side of the species divide, we have Tom Brooke as a sympathetic “parentteacher” trying to balance Zan’s lust for freedom with the well-being of the collective. (“Do you have something you’d like to interjaculate?” he asks her during one of their meetings.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m aware as I write this how much it sounds like a hacky vignette from 1972’s \u003cem>Everything You Ever Wanted to Know About Sex* (*But Were Afraid to Ask)\u003c/em>. But it plays more like the goofy flip side of\u003cem> Under the Skin\u003c/em>, the chilly 2014 sci-fi film that starred Scarlett Johansson as a mysterious visitor luring willing Scottish men into her van. There’s a warmth and inclusivity here that sets it apart from the sex comedies of the era in which it’s set; \u003cem>How to Talk to Girls\u003c/em> posits sex and relationships as matters to be explored and discovered, rather than won or mastered. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A pair of brief, tacky animated sequences of—I think—microbes copulating would’ve been better left excised, and not just because these colorful lifeforms look an awful lot like the Infinity Gems that the Marvel villain Thanos sought with such militant completism. (\u003cem>How to Talk to Girls\u003c/em> premiered at the Cannes Film Festival a year ago; why it’s only being released now is a mystery.) We don’t need these inserts of petri-dish chemistry to buy that Fanning and Sharp resonate on the same wavelength. Fanning has the sort of doll-like appearance that keeps getting her cast as princesses and teen supermodels and hot extraterrestrials, but director Mitchell isn’t interested in manic pixies. Here, Fanning’s character is just a curious kid from another world, and the journey from innocence to experience depicted here is more hers than than her boyfriend’s. That alone is enough to make \u003cem>How to Talk to Girls at Parties\u003c/em> a refreshing tonic against blockbusteritis. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Men Are From From Mars, Women Are From Venus,\u003c/em> a best-selling early-’90s relationships guidebook argued. \u003cem>How to Talk to Girls at Parties,\u003c/em> a sweet, slight comic fantasy expanded from an early-aughts Neil Gaiman short story, knows the truth is far more complex: Men and Women Are from Earth, Members of an Advanced Extraterrestrial Species on a Reconnaissance Mission Here While Temporarily Wearing the Bodies of Men and Women are from… well, we never find out where they’re from, exactly. But every planet has its misfits. \u003c/p>\n\u003cp>\u003cem>How to Talk to Girls\u003c/em> is set in the South London borough of Croydon, which matters a little, and in 1977, which matters a lot. (The film was shot in Sheffield, perhaps because it looks more like late-seventies Croydon than present-day Croydon does.) Punk is in full, safety-pinned bloom. Adolescent cartoonist En (Broadway veteran Alex Sharp) publishes a fanzine, \u003cem>Virus\u003c/em>, with his two mates; they’re regulars at a club/art space run by Queen Boadicea, the grande dame dowager of this small pond. The Queen is played with a not-quite-maternal wariness by Nicole Kidman, punked out like Daryl Hannah in \u003cem>Blade Runner\u003c/em>—which was of course made by a Brit right around the time punk was hitting its hard-coded termination date.\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/nWzHaRM8jeo'\n title='//www.youtube.com/embed/nWzHaRM8jeo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Seeking another grimy rock-club party, the three boys find themselves instead Pied-Pipered towards a modernist Warholian Exploding Plastic Inevitable-type-deal in a handsome old manor house. The music sounds more like Kraftwerk than the Sex Pistols or the Damned. Most of the revelers are performing an elaborate group dance; all are dressed in color-coded body-hugging latex. En’s swaggering pal Vic (Abraham Lewis) goes straight for Stella (Ruth Wilson), the most sexually assertive girl at the dance. But being the more bashful, inquisitive sort—the kind who grow up to be writers—En ends up chatting with Zan (Elle Fanning), who’s grown weary of the Prime Directive-type-regulations governing her exposure to earthlings while she’s here on Earth. Their meet-cute leaves Zan with a slightly flummoxed vocabulary, wherein the kinds of worldly experiences she seeks are collectively referred to as “punk.” \u003c/p>\n\u003cp>That’s roughly where Gaiman’s story leaves it. But director John Cameron Mitchell (\u003cem>Hedwig and the Angry Inch\u003c/em>, \u003cem>Shortbus\u003c/em>) and co-screenwriter Philippa Goslett have tricked out the tale with a proper beginning and ending, and populated it with appealingly dimensional people and aliens. They’ve added Kidman’s character, as well as the marvelous Joanna Scanlan as En’s lonely single mum—who still, as she is moved to remind even her own ungrateful boy, has a clitoris. On the other side of the species divide, we have Tom Brooke as a sympathetic “parentteacher” trying to balance Zan’s lust for freedom with the well-being of the collective. (“Do you have something you’d like to interjaculate?” he asks her during one of their meetings.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m aware as I write this how much it sounds like a hacky vignette from 1972’s \u003cem>Everything You Ever Wanted to Know About Sex* (*But Were Afraid to Ask)\u003c/em>. But it plays more like the goofy flip side of\u003cem> Under the Skin\u003c/em>, the chilly 2014 sci-fi film that starred Scarlett Johansson as a mysterious visitor luring willing Scottish men into her van. There’s a warmth and inclusivity here that sets it apart from the sex comedies of the era in which it’s set; \u003cem>How to Talk to Girls\u003c/em> posits sex and relationships as matters to be explored and discovered, rather than won or mastered. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A pair of brief, tacky animated sequences of—I think—microbes copulating would’ve been better left excised, and not just because these colorful lifeforms look an awful lot like the Infinity Gems that the Marvel villain Thanos sought with such militant completism. (\u003cem>How to Talk to Girls\u003c/em> premiered at the Cannes Film Festival a year ago; why it’s only being released now is a mystery.) We don’t need these inserts of petri-dish chemistry to buy that Fanning and Sharp resonate on the same wavelength. Fanning has the sort of doll-like appearance that keeps getting her cast as princesses and teen supermodels and hot extraterrestrials, but director Mitchell isn’t interested in manic pixies. Here, Fanning’s character is just a curious kid from another world, and the journey from innocence to experience depicted here is more hers than than her boyfriend’s. That alone is enough to make \u003cem>How to Talk to Girls at Parties\u003c/em> a refreshing tonic against blockbusteritis. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Brandi Chastain's Hall of Fame Plaque Looks Like Basically Anyone But Her",
"headTitle": "Brandi Chastain’s Hall of Fame Plaque Looks Like Basically Anyone But Her | KQED",
"content": "\u003cp>It was supposed to be an honor.\u003c/p>\n\u003cp>In a ceremony Monday night at the Westin St. Francis Hotel in San Francisco, U.S. soccer great Brandi Chastain was inducted into the Bay Area Sports Hall of Fame. She was presented with a bronze plaque of her likeness, \u003ca href=\"http://bashof.org/hall-of-fame/\">to be displayed\u003c/a> at San Francisco International Airport.\u003c/p>\n\u003cp>Well, it was supposed to be of her likeness.\u003c/p>\n\u003cp>This is Chastain in 2017, at the Rose Bowl, where she famously scored the game-winning penalty kick at the 1999 World Cup Final.\u003c/p>\n\u003cfigure id=\"attachment_13833323\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg\" alt=\"Brandi Chastain at the Rose Bowl in 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Chastain at the Rose Bowl in 2017. \u003ccite>(USA Today Sports/USA Today Sports)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/annkillion/status/998778381570260992\" target=\"_blank\" rel=\"noopener\">This is the plaque\u003c/a> of Chastain, winner of two World Cups and two-time Olympic gold medalist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/annkillion/status/998778381570260992\u003c/p>\n\u003cp>Chastain posed for pictures with the plaque, and almost managed to not visibly cringe. “It’s not the most flattering, but it’s nice,” she said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ubyPFQtpJSo\u003c/p>\n\u003cp>The discrepancy between the athlete and the depiction was brought to national attention by \u003cem>San Francisco Chronicle\u003c/em> sports columnist Ann Killion.\u003c/p>\n\u003cp>“Brandi Chastain is one of the most beautiful athletes I’ve ever covered,” she tweeted. “How this became her plaque is a freaking embarrassment for BASHOF. Makes Cristiano’s look perfect.”\u003c/p>\n\u003cp>(She’s referencing Portuguese footballer Cristiano Ronaldo, whose good looks have also \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/29/521940923/cristiano-ronaldos-new-bronze-bust-is-turning-heads\" target=\"_blank\" rel=\"noopener\">proved weirdly difficult\u003c/a> to translate into bronze.)\u003c/p>\n\u003cp>Soccer Twitter leapt into action, diptyching like there was no tomorrow. Didn’t the plaque look most like \u003ca href=\"https://twitter.com/laughpastfive/status/998964513989906432\" target=\"_blank\" rel=\"noopener\">Eleanor Roosevelt\u003c/a>?\u003c/p>\n\u003cp>https://twitter.com/laughpastfive/status/998964513989906432\u003c/p>\n\u003cp>Or perhaps that toothy smile was more reminiscent of former NFL coach \u003ca href=\"https://twitter.com/svertelney/status/998931902773022720\" target=\"_blank\" rel=\"noopener\">Rex Ryan\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/svertelney/status/998931902773022720\u003c/p>\n\u003cp>But something about the cheeks and brow really \u003ca href=\"https://twitter.com/PavlosRozis/status/998788783393853440\" target=\"_blank\" rel=\"noopener\">called\u003c/a> to mind \u003ca href=\"http://backtothefuture.wikia.com/wiki/Biff_Tannen\">Biff\u003c/a>, from \u003cem>Back to the Future\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/PavlosRozis/status/998788783393853440\u003c/p>\n\u003cp>A very strong case \u003ca href=\"https://twitter.com/UCLADodgerFrank/status/998991499189673984\" target=\"_blank\" rel=\"noopener\">was made\u003c/a> for actor Gary Busey.\u003c/p>\n\u003cp>https://twitter.com/UCLADodgerFrank/status/998991499189673984\u003c/p>\n\u003cp>And for peanut farmer and president \u003ca href=\"https://twitter.com/tornadolightnin/status/998975856121909248\" target=\"_blank\" rel=\"noopener\">Jimmy Carter\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/tornadolightnin/status/998975856121909248\u003c/p>\n\u003cp>The outpouring worked its magic.\u003c/p>\n\u003cp>On Tuesday afternoon, Chastain \u003ca href=\"https://www.sfchronicle.com/sports/article/Chastain-s-unflattering-hall-of-fame-plaque-12934627.php\" target=\"_blank\" rel=\"noopener\">told \u003c/a>Killion that the Hall of Fame plans to redo the plaque.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’ve asked “for a photo of my choosing, so I need to find one,” Chastain 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=Brandi+Chastain%27s+Hall+Of+Fame+Plaque+Looks+Like+Basically+Anyone+But+Her&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The bronze depiction of the U.S. soccer legend called to mind Jimmy Carter, Eleanor Roosevelt and Gary Busey. Chastain took it in stride: \"It's not the most flattering, but it's nice.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was supposed to be an honor.\u003c/p>\n\u003cp>In a ceremony Monday night at the Westin St. Francis Hotel in San Francisco, U.S. soccer great Brandi Chastain was inducted into the Bay Area Sports Hall of Fame. She was presented with a bronze plaque of her likeness, \u003ca href=\"http://bashof.org/hall-of-fame/\">to be displayed\u003c/a> at San Francisco International Airport.\u003c/p>\n\u003cp>Well, it was supposed to be of her likeness.\u003c/p>\n\u003cp>This is Chastain in 2017, at the Rose Bowl, where she famously scored the game-winning penalty kick at the 1999 World Cup Final.\u003c/p>\n\u003cfigure id=\"attachment_13833323\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg\" alt=\"Brandi Chastain at the Rose Bowl in 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Chastain at the Rose Bowl in 2017. \u003ccite>(USA Today Sports/USA Today Sports)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/annkillion/status/998778381570260992\" target=\"_blank\" rel=\"noopener\">This is the plaque\u003c/a> of Chastain, winner of two World Cups and two-time Olympic gold medalist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Chastain posed for pictures with the plaque, and almost managed to not visibly cringe. “It’s not the most flattering, but it’s nice,” she said.\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/ubyPFQtpJSo'\n title='//www.youtube.com/embed/ubyPFQtpJSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The discrepancy between the athlete and the depiction was brought to national attention by \u003cem>San Francisco Chronicle\u003c/em> sports columnist Ann Killion.\u003c/p>\n\u003cp>“Brandi Chastain is one of the most beautiful athletes I’ve ever covered,” she tweeted. “How this became her plaque is a freaking embarrassment for BASHOF. Makes Cristiano’s look perfect.”\u003c/p>\n\u003cp>(She’s referencing Portuguese footballer Cristiano Ronaldo, whose good looks have also \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/29/521940923/cristiano-ronaldos-new-bronze-bust-is-turning-heads\" target=\"_blank\" rel=\"noopener\">proved weirdly difficult\u003c/a> to translate into bronze.)\u003c/p>\n\u003cp>Soccer Twitter leapt into action, diptyching like there was no tomorrow. Didn’t the plaque look most like \u003ca href=\"https://twitter.com/laughpastfive/status/998964513989906432\" target=\"_blank\" rel=\"noopener\">Eleanor Roosevelt\u003c/a>?\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The outpouring worked its magic.\u003c/p>\n\u003cp>On Tuesday afternoon, Chastain \u003ca href=\"https://www.sfchronicle.com/sports/article/Chastain-s-unflattering-hall-of-fame-plaque-12934627.php\" target=\"_blank\" rel=\"noopener\">told \u003c/a>Killion that the Hall of Fame plans to redo the plaque.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’ve asked “for a photo of my choosing, so I need to find one,” Chastain 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=Brandi+Chastain%27s+Hall+Of+Fame+Plaque+Looks+Like+Basically+Anyone+But+Her&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Jackson's Gravity-Defying Lean Continues to Fascinate",
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"content": "\u003cp>From the quarter toss into the jukebox to the cue ball crushed into powder and blown into a baddie’s face to the moonwalk that lasts more than a blink of an eye, if you haven’t watched the video for \u003ca href=\"https://www.npr.org/artists/16782748/michael-jackson\">Michael Jackson\u003c/a>‘s “Smooth Criminal” in a while, it’s every bit as magic as you remember it. Jackson was always something of an illusionist, particularly when it came to his signature dance moves.\u003c/p>\n\u003cp>Three neurosurgeons (and admitted Jackson fans) from the Postgraduate Institute of Medical Education and Research in Chandigarh, India — Nishant S. Yagnick, Manjul Tripathi and Sandeep Mohindra — have revisited how the King of Pop achieved the 45-degree lean while keeping his spine straight, not just on video, but in live performances around the world.\u003c/p>\n\u003cp>“Several MJ fans, including the authors, have tried to copy this move and failed, often injuring themselves in their endeavors,” reads the \u003ca href=\"http://thejns.org/doi/full/10.3171/2018.2.SPINE171443\">paper published\u003c/a> in the \u003cem>Journal of Neurosurgery\u003c/em>. Trained dancers can lean forward a maximum of 25 to 30 degrees, but even then, it can put serious strain on the Achilles tendon.\u003c/p>\n\u003cfigure id=\"attachment_13833172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe\" alt=\"Michael Jackson's 45-degree tilt versus the rest of humanity illustrated, along with Jackson's secret weapon.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1200x900.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-520x390.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson’s 45-degree tilt versus the rest of humanity illustrated, along with Jackson’s secret weapon. \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a secret that the card up Jackson’s sleeve, so to speak, was a special shoe \u003ca href=\"https://catalog.archives.gov/id/5742939\">patented under his name\u003c/a> way back in 1993.\u003c/p>\n\u003cp>“The triangular slot could engage a hitch member (a metallic peg, which emerged from the stage floor at just the right time), allowing the dancer to obtain the right amount of extra support to be able to lean forward beyond physiological limits,” the paper continues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So no — MJ’s shoe-hitch isn’t \u003cem>new\u003c/em> news, but, as the neurosurgeons elaborate, the mind-boggling feat could only occur with incredible core strength from the spinal and lower-limb muscles. So, basically: Don’t try this home, unless you have anti-gravity footwear and are totally jacked. \u003c/p>\n\u003cfigure id=\"attachment_13833171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe\" alt=\"Michael Jackson puts all of the pressure of his dance move on the Achilles tendon\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-520x293.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson puts all of the pressure of his dance move on the Achilles tendon \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Jackson%27s+Gravity-Defying+Lean+Continues+To+Fascinate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the quarter toss into the jukebox to the cue ball crushed into powder and blown into a baddie’s face to the moonwalk that lasts more than a blink of an eye, if you haven’t watched the video for \u003ca href=\"https://www.npr.org/artists/16782748/michael-jackson\">Michael Jackson\u003c/a>‘s “Smooth Criminal” in a while, it’s every bit as magic as you remember it. Jackson was always something of an illusionist, particularly when it came to his signature dance moves.\u003c/p>\n\u003cp>Three neurosurgeons (and admitted Jackson fans) from the Postgraduate Institute of Medical Education and Research in Chandigarh, India — Nishant S. Yagnick, Manjul Tripathi and Sandeep Mohindra — have revisited how the King of Pop achieved the 45-degree lean while keeping his spine straight, not just on video, but in live performances around the world.\u003c/p>\n\u003cp>“Several MJ fans, including the authors, have tried to copy this move and failed, often injuring themselves in their endeavors,” reads the \u003ca href=\"http://thejns.org/doi/full/10.3171/2018.2.SPINE171443\">paper published\u003c/a> in the \u003cem>Journal of Neurosurgery\u003c/em>. Trained dancers can lean forward a maximum of 25 to 30 degrees, but even then, it can put serious strain on the Achilles tendon.\u003c/p>\n\u003cfigure id=\"attachment_13833172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe\" alt=\"Michael Jackson's 45-degree tilt versus the rest of humanity illustrated, along with Jackson's secret weapon.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1200x900.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-520x390.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson’s 45-degree tilt versus the rest of humanity illustrated, along with Jackson’s secret weapon. \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a secret that the card up Jackson’s sleeve, so to speak, was a special shoe \u003ca href=\"https://catalog.archives.gov/id/5742939\">patented under his name\u003c/a> way back in 1993.\u003c/p>\n\u003cp>“The triangular slot could engage a hitch member (a metallic peg, which emerged from the stage floor at just the right time), allowing the dancer to obtain the right amount of extra support to be able to lean forward beyond physiological limits,” the paper continues.\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>So no — MJ’s shoe-hitch isn’t \u003cem>new\u003c/em> news, but, as the neurosurgeons elaborate, the mind-boggling feat could only occur with incredible core strength from the spinal and lower-limb muscles. So, basically: Don’t try this home, unless you have anti-gravity footwear and are totally jacked. \u003c/p>\n\u003cfigure id=\"attachment_13833171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe\" alt=\"Michael Jackson puts all of the pressure of his dance move on the Achilles tendon\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-520x293.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson puts all of the pressure of his dance move on the Achilles tendon \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Jackson%27s+Gravity-Defying+Lean+Continues+To+Fascinate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Robert Indiana Dies at 89: The Story Behind 'LOVE'",
"headTitle": "Artist Robert Indiana Dies at 89: The Story Behind ‘LOVE’ | KQED",
"content": "\u003cp>Fifty years after his \u003cem>LOVE\u003c/em> painting made Robert Indiana a sensation, the artist has died at the age of 89. \u003c/p>\n\u003cp>Indiana’s two-row rendering of the word, with its tilted “O,” became one of the most recognizable works of modern art in the world. The famous design emerged from deep influences in Indiana’s life, from his early exposure to religion to his father’s career.\u003c/p>\n\u003cp>Indiana died Saturday at his home in Vinalhaven, Maine. His death came a day after a controversy emerged over control of his work, with a federal lawsuit alleging that Indiana had been isolated from his loved ones, and that his art had been exploited for profit. The case involves an art publisher and a caretaker who had been granted power of attorney, as \u003ca href=\"https://www.nytimes.com/2018/05/21/arts/design/robert-indiana-vanished-artist.html\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>.\u003c/p>\n\u003cp>Born Robert Clark, the artist changed his name to Indiana as a reference to his home state. In 1946, he had turned down a chance to go to art school in order to enlist in the Air Force. After he left the service, Indiana attended the School of the Art Institute of Chicago under the G.I. Bill.\u003c/p>\n\u003cfigure id=\"attachment_13833136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg\" alt=\"Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He's seen here in his studio in Vinalhaven, Me., in 2008.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He’s seen here in his studio in Vinalhaven, Me., in 2008. \u003ccite>(Joel Page/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indiana moved to New York City in the 1950s, meeting artists such as Ellsworth Kelly and Cy Twombly and working a string of jobs as he honed his art. In the 1960s, he began making one-word paintings and met Andy Warhol and other influential artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The work \u003cem>LOVE\u003c/em> began as a Christmas card that was commissioned by The Museum of Modern Art in 1965. At the time, Indiana was nearly 40 years old and had enjoyed success as an artist in New York – but nothing like what was awaiting him.\u003c/p>\n\u003cfigure id=\"attachment_13833137\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg\" alt=\"In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia's LOVE Park -- officially known as John F. Kennedy Plaza\" width=\"800\" height=\"1068\" class=\"size-medium wp-image-13833137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-960x1282.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1.jpg 1254w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia’s LOVE Park — officially known as John F. Kennedy Plaza \u003ccite>(Mike Mergen/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting quickly became a symbol of the flower-powered ’60s; in the years since, it has persisted as both a pop symbol and an elegant reminder of a core human emotion.\u003c/p>\n\u003cp>Indiana created a 6-by-6 feet painting of the work \u003ca href=\"http://robertindiana.com/works/love-5/\" target=\"_blank\" rel=\"noopener\">in 1966\u003c/a>; he would go on to turn it into sculptures; and in the 1970s, \u003cem>LOVE\u003c/em> became a U.S. postage stamp.\u003c/p>\n\u003cp>For Indiana, who once called himself simply an American sign painter, the now-iconic design followed early iterations that highlighted the word “love,” including a 1961 work titled \u003cem>Four Star Love\u003c/em>. He also presented it as a play on the phrase “God is love,” creating a circle in 1964 that framed the message \u003cem>Love Is God\u003c/em>.\u003c/p>\n\u003cp>For Indiana, it was his own translation of a phrase he often heard during his youth, when he was being raised as a Christian Scientist.\u003c/p>\n\u003cp>In different presentations, Indiana also used a range of contrasting colors to highlight \u003cem>LOVE.\u003c/em> But the colors of the first version hint at the deep meaning the work had in the artist’s own life.\u003c/p>\n\u003cp>“The red and the green came from the Philips 66 gas sign,” Indianapolis Museum of Art curator Martin Krause \u003ca href=\"https://www.npr.org/2014/01/05/259408158/robert-indiana-a-career-defined-by-love-no-longer\">told NPR in 2014\u003c/a>. “His father worked for Philips 66, and he remembered that combination; it fixed itself in his mind. And when he began making the \u003cem>LOVE\u003c/em> paintings in 1965, his father died. So the red and green of the [MoMA] \u003cem>LOVE\u003c/em> painting, silhouetted against the blue Indiana sky, is in memoriam of his father.”\u003c/p>\n\u003cp>https://twitter.com/VeroneseCris/status/998879278652682240\u003c/p>\n\u003cp>As Indiana told NPR in the same 2014 report, “Everything is relating to my own life.”\u003c/p>\n\u003cfigure id=\"attachment_13833138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg\" alt='A Robert Indiana installation of \"AMOR\" on exhibit in Piazza della Scala in Milan, Italy, in 2008' width=\"800\" height=\"450\" class=\"size-medium wp-image-13833138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Robert Indiana installation of “AMOR” on exhibit in Piazza della Scala in Milan, Italy, in 2008 \u003ccite>(Vittorio Zunino Celotto/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That message now stands in cities around the world, from New York City and Philadelphia — home of the famous LOVE Park — to Tokyo and Singapore. In some cases, \u003cem>LOVE\u003c/em> remains in its original form. It’s also been translated into Spanish, Hebrew and other languages.\u003c/p>\n\u003cp>Other works by Indiana serve as reminders of his mother – particularly the one-word piece \u003cem>HUG\u003c/em>, from the early 1960s. Other paintings juxtapose the words “EAT” and “DIE.”\u003c/p>\n\u003cp>“‘Hug’ is my mother’s word for affection,” Indiana told NPR. “‘Eat’ was the last word that she said before she died.\u003c/p>\n\u003cp>https://twitter.com/Bucks/status/998732503451033600\u003c/p>\n\u003cp>After his breakthrough success, Indiana was commissioned to design a hardwood basketball court for the \u003ca href=\"https://twitter.com/Bucks/status/998732503451033600\" target=\"_blank\" rel=\"noopener\">NBA’s Milwaukee Bucks,\u003c/a> featuring bright yellow paint and the arena’s nickname (the MECCA), along with two gigantic M’s.\u003c/p>\n\u003cp>But decades after creating \u003cem>LOVE\u003c/em> and other popular works, including the similarly designed \u003cem>HOPE\u003c/em>, Indiana complained that the art world had shunned him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003cem>LOVE\u003c/em> bit me,” Indiana said in 2014. “It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular. And there are people who don’t like popularity. It’s much better to be exclusive and remote. That’s why I’m on an island off the coast of Maine, you see.” \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=Artist+Robert+Indiana+Dies+At+89%3A+The+Story+Behind+%27LOVE%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years after his \u003cem>LOVE\u003c/em> painting made Robert Indiana a sensation, the artist has died at the age of 89. \u003c/p>\n\u003cp>Indiana’s two-row rendering of the word, with its tilted “O,” became one of the most recognizable works of modern art in the world. The famous design emerged from deep influences in Indiana’s life, from his early exposure to religion to his father’s career.\u003c/p>\n\u003cp>Indiana died Saturday at his home in Vinalhaven, Maine. His death came a day after a controversy emerged over control of his work, with a federal lawsuit alleging that Indiana had been isolated from his loved ones, and that his art had been exploited for profit. The case involves an art publisher and a caretaker who had been granted power of attorney, as \u003ca href=\"https://www.nytimes.com/2018/05/21/arts/design/robert-indiana-vanished-artist.html\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>.\u003c/p>\n\u003cp>Born Robert Clark, the artist changed his name to Indiana as a reference to his home state. In 1946, he had turned down a chance to go to art school in order to enlist in the Air Force. After he left the service, Indiana attended the School of the Art Institute of Chicago under the G.I. Bill.\u003c/p>\n\u003cfigure id=\"attachment_13833136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg\" alt=\"Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He's seen here in his studio in Vinalhaven, Me., in 2008.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He’s seen here in his studio in Vinalhaven, Me., in 2008. \u003ccite>(Joel Page/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indiana moved to New York City in the 1950s, meeting artists such as Ellsworth Kelly and Cy Twombly and working a string of jobs as he honed his art. In the 1960s, he began making one-word paintings and met Andy Warhol and other influential artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The work \u003cem>LOVE\u003c/em> began as a Christmas card that was commissioned by The Museum of Modern Art in 1965. At the time, Indiana was nearly 40 years old and had enjoyed success as an artist in New York – but nothing like what was awaiting him.\u003c/p>\n\u003cfigure id=\"attachment_13833137\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg\" alt=\"In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia's LOVE Park -- officially known as John F. Kennedy Plaza\" width=\"800\" height=\"1068\" class=\"size-medium wp-image-13833137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-960x1282.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1.jpg 1254w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia’s LOVE Park — officially known as John F. Kennedy Plaza \u003ccite>(Mike Mergen/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting quickly became a symbol of the flower-powered ’60s; in the years since, it has persisted as both a pop symbol and an elegant reminder of a core human emotion.\u003c/p>\n\u003cp>Indiana created a 6-by-6 feet painting of the work \u003ca href=\"http://robertindiana.com/works/love-5/\" target=\"_blank\" rel=\"noopener\">in 1966\u003c/a>; he would go on to turn it into sculptures; and in the 1970s, \u003cem>LOVE\u003c/em> became a U.S. postage stamp.\u003c/p>\n\u003cp>For Indiana, who once called himself simply an American sign painter, the now-iconic design followed early iterations that highlighted the word “love,” including a 1961 work titled \u003cem>Four Star Love\u003c/em>. He also presented it as a play on the phrase “God is love,” creating a circle in 1964 that framed the message \u003cem>Love Is God\u003c/em>.\u003c/p>\n\u003cp>For Indiana, it was his own translation of a phrase he often heard during his youth, when he was being raised as a Christian Scientist.\u003c/p>\n\u003cp>In different presentations, Indiana also used a range of contrasting colors to highlight \u003cem>LOVE.\u003c/em> But the colors of the first version hint at the deep meaning the work had in the artist’s own life.\u003c/p>\n\u003cp>“The red and the green came from the Philips 66 gas sign,” Indianapolis Museum of Art curator Martin Krause \u003ca href=\"https://www.npr.org/2014/01/05/259408158/robert-indiana-a-career-defined-by-love-no-longer\">told NPR in 2014\u003c/a>. “His father worked for Philips 66, and he remembered that combination; it fixed itself in his mind. And when he began making the \u003cem>LOVE\u003c/em> paintings in 1965, his father died. So the red and green of the [MoMA] \u003cem>LOVE\u003c/em> painting, silhouetted against the blue Indiana sky, is in memoriam of his father.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>As Indiana told NPR in the same 2014 report, “Everything is relating to my own life.”\u003c/p>\n\u003cfigure id=\"attachment_13833138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg\" alt='A Robert Indiana installation of \"AMOR\" on exhibit in Piazza della Scala in Milan, Italy, in 2008' width=\"800\" height=\"450\" class=\"size-medium wp-image-13833138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Robert Indiana installation of “AMOR” on exhibit in Piazza della Scala in Milan, Italy, in 2008 \u003ccite>(Vittorio Zunino Celotto/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That message now stands in cities around the world, from New York City and Philadelphia — home of the famous LOVE Park — to Tokyo and Singapore. In some cases, \u003cem>LOVE\u003c/em> remains in its original form. It’s also been translated into Spanish, Hebrew and other languages.\u003c/p>\n\u003cp>Other works by Indiana serve as reminders of his mother – particularly the one-word piece \u003cem>HUG\u003c/em>, from the early 1960s. Other paintings juxtapose the words “EAT” and “DIE.”\u003c/p>\n\u003cp>“‘Hug’ is my mother’s word for affection,” Indiana told NPR. “‘Eat’ was the last word that she said before she died.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After his breakthrough success, Indiana was commissioned to design a hardwood basketball court for the \u003ca href=\"https://twitter.com/Bucks/status/998732503451033600\" target=\"_blank\" rel=\"noopener\">NBA’s Milwaukee Bucks,\u003c/a> featuring bright yellow paint and the arena’s nickname (the MECCA), along with two gigantic M’s.\u003c/p>\n\u003cp>But decades after creating \u003cem>LOVE\u003c/em> and other popular works, including the similarly designed \u003cem>HOPE\u003c/em>, Indiana complained that the art world had shunned him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003cem>LOVE\u003c/em> bit me,” Indiana said in 2014. “It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular. And there are people who don’t like popularity. It’s much better to be exclusive and remote. That’s why I’m on an island off the coast of Maine, you see.” \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=Artist+Robert+Indiana+Dies+At+89%3A+The+Story+Behind+%27LOVE%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dacha Ado About Nothing — And Everything: 'The Seagull' Soars",
"headTitle": "Dacha Ado About Nothing — And Everything: ‘The Seagull’ Soars | KQED",
"content": "\u003cp>Michael Mayer’s \u003cem>The Seagull\u003c/em>, a fluid and faithful reading of the endlessly remounted stage play by Anton Chekhov, opens and closes with what looks like the same scene. The curtain has just gone down on a final act, and we hear clapping as the camera moves in to focus on leading lady Irina (Annette Bening, in superb command as always), flushed and beaming under the adulation she plainly can’t get enough of. Until, that is, someone whispers troubling news in Irina’s ear and rushes her away to — where else? — her lush country estate by a lake, where her sick brother Sorin (Brian Dennehy) has taken a turn for the worse.\u003c/p>\n\u003cp>There’s something about art and life here, and by the end, when the scene repeats with implied but crucial differences, the overlap between the two will get a thorough workout. That’s if you’re paying attention: Like so much of Chekhov’s deceptively naturalistic work, \u003cem>The Seagull\u003c/em> can be read (and probably was, and will be, in many a Comp. Lit. class) as just another bunch of unhappy Russians gassing on about how life has failed them. But how beautifully this top-drawer cast gases, in playwright Stephen Karam’s crafty adaptation of a play that Chekhov insisted was a comedy. \u003c/p>\n\u003cp>https://youtu.be/ynGnOf0scl8\u003c/p>\n\u003cp>Karam doffs his cap to the darkly funny backbone that Chekhov brought to bear on the well-worn theme of unrequited love. Like many women who depend on their looks for their livelihood and their self-esteem, the actress Irina has taken a much younger lover, successful playwright Boris Trigorin (Corey Stoll, aka Congressman Russo in \u003cem>House of Cards\u003c/em>). She also cruelly undermines Konstantin, her as-yet-unknown playwright son (a goofily hapless Billy Howle), whose youth provides a constantly unwelcome reminder of her own aging. \u003c/p>\n\u003cp>Locked in neurotic symbiosis with his mother, Konstantin also pines after Nina (Saoirse Ronan), a fair but fickle maiden on loan from another estate. Nursing grand ambitions of her own, Nina sets her sights at Trigorin, who is never one to turn down firm young flesh. Rounding out this lovelorn crew is a terrifically funny, achingly sad Elisabeth Moss as Masha, the snuff-snorting, liquor-swilling estate manager. She tags miserably along after an irritated Konstantin while swatting away her un-swattable suitor (Michael Zegen), a dull but dependable teacher.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You get the picture, but though \u003cem>The Seagull\u003c/em> has its moments of quietly knockabout farce, mostly the movie inclines intimately, subtly, to the sadness of the incomplete life. In director Mayer’s rhythmic pacing, the blemishes of one lost soul bleed into another’s suffering, which gets paid forward in an endless roundelay of thwarted desire and crushed dreams. Their hurts and sorrows seem common enough — love not returned, the complicated bond of mothers and sons, paths not taken, paths taken and regretted — and Mayer plays them out in a drifting ebb and flow set against a serenely bucolic landscape belied by the turmoil within each savage breast. \u003c/p>\n\u003cp>On its opening night in Russia in 1896, \u003cem>The Seagull\u003c/em> was all but booed off the stage by bewildered theatergoers schooled to expect upper-register melodrama. Devastated, Chekhov failed to show up for a fresh staging two years later, when audiences awakened to his poignant subtext rose in their seats to applaud the art of a writer then better-known for his short stories than his plays. Not for nothing is Konstantin a misunderstood experimenter with form.\u003c/p>\n\u003cp>Naturalism is second nature to us these days, at least in indie chamber pieces like \u003cem>The Seagull\u003c/em>. Yet Chekhov’s lack of moralism may baffle today’s moviegoers, or at least make them uneasy with the apparent lack of payoff in the plotting. No monsters lurk here, unless you count Trigorin, a heedless but likable cad who’s a prisoner of his compulsion to turn every astutely observed interaction into copy. But the rest of this uneasy ensemble is imprisoned as well, writhing in the grip of their obsessions and their longings for completion. \u003c/p>\n\u003cp>There are no saints among them either, unless you count the observant, tolerant and obligatory doctor (Jon Tenney) who’s very good at reading the room but not much good at committing to those inside it. Irina is a terrible mother who really loves her son, while Masha can’t surrender her own fruitless passion for a young man way outside her league. \u003c/p>\n\u003cp>If there’s a moral to the story it’s that we humans, however chastened by time and error, never learn from bitter experience. By the time the opening scene repeats, two years have passed, and what began as everyday misery threatens to deepen into tragedy. Far from sorting them out, \u003cem>The Seagull\u003c/em>, true to its author, turns life into art that’s bold enough to ask, “How shall we live?” and brave enough to answer, “With great difficulty.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You get the picture, but though \u003cem>The Seagull\u003c/em> has its moments of quietly knockabout farce, mostly the movie inclines intimately, subtly, to the sadness of the incomplete life. In director Mayer’s rhythmic pacing, the blemishes of one lost soul bleed into another’s suffering, which gets paid forward in an endless roundelay of thwarted desire and crushed dreams. Their hurts and sorrows seem common enough — love not returned, the complicated bond of mothers and sons, paths not taken, paths taken and regretted — and Mayer plays them out in a drifting ebb and flow set against a serenely bucolic landscape belied by the turmoil within each savage breast. \u003c/p>\n\u003cp>On its opening night in Russia in 1896, \u003cem>The Seagull\u003c/em> was all but booed off the stage by bewildered theatergoers schooled to expect upper-register melodrama. Devastated, Chekhov failed to show up for a fresh staging two years later, when audiences awakened to his poignant subtext rose in their seats to applaud the art of a writer then better-known for his short stories than his plays. Not for nothing is Konstantin a misunderstood experimenter with form.\u003c/p>\n\u003cp>Naturalism is second nature to us these days, at least in indie chamber pieces like \u003cem>The Seagull\u003c/em>. Yet Chekhov’s lack of moralism may baffle today’s moviegoers, or at least make them uneasy with the apparent lack of payoff in the plotting. No monsters lurk here, unless you count Trigorin, a heedless but likable cad who’s a prisoner of his compulsion to turn every astutely observed interaction into copy. But the rest of this uneasy ensemble is imprisoned as well, writhing in the grip of their obsessions and their longings for completion. \u003c/p>\n\u003cp>There are no saints among them either, unless you count the observant, tolerant and obligatory doctor (Jon Tenney) who’s very good at reading the room but not much good at committing to those inside it. Irina is a terrible mother who really loves her son, while Masha can’t surrender her own fruitless passion for a young man way outside her league. \u003c/p>\n\u003cp>If there’s a moral to the story it’s that we humans, however chastened by time and error, never learn from bitter experience. By the time the opening scene repeats, two years have passed, and what began as everyday misery threatens to deepen into tragedy. Far from sorting them out, \u003cem>The Seagull\u003c/em>, true to its author, turns life into art that’s bold enough to ask, “How shall we live?” and brave enough to answer, “With great difficulty.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'This Is America' Earns Donald Glover His First No. 1 Hit",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\u003c/p>\n\u003cp>https://youtu.be/VYOjWnS4cMY\u003c/p>\n\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\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=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\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/VYOjWnS4cMY'\n title='//www.youtube.com/embed/VYOjWnS4cMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\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>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\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=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "newly-uncovered-pages-from-anne-franks-diary-reveal-risque-jokes",
"title": "Newly Uncovered Pages From Anne Frank's Diary Reveal Risqué Jokes",
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"content": "\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\n\u003cp>https://twitter.com/NIODamsterdam/status/996406382583742464\u003c/p>\n\u003cp>According to The Anne Frank House, the teenager often reread and edited her diary. She might have hidden these two original pages because she worried that the other seven people in the annex would read her diary. \u003c/p>\n\u003cp>After the group was discovered and deported, and Frank perished in Bergen-Belsen, Otto Frank, her father and the only surviving member of the family, edited and published his daughter’s writing. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Diary of a Young Girl\u003c/em> became one of the world’s most widely read books, available in more than 70 languages. \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=Newly+Uncovered+Pages+From+Anne+Frank%27s+Diary+Reveal+Risqu%C3%A9+Jokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>According to The Anne Frank House, the teenager often reread and edited her diary. She might have hidden these two original pages because she worried that the other seven people in the annex would read her diary. \u003c/p>\n\u003cp>After the group was discovered and deported, and Frank perished in Bergen-Belsen, Otto Frank, her father and the only surviving member of the family, edited and published his daughter’s writing. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Diary of a Young Girl\u003c/em> became one of the world’s most widely read books, available in more than 70 languages. \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=Newly+Uncovered+Pages+From+Anne+Frank%27s+Diary+Reveal+Risqu%C3%A9+Jokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \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=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \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=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Criminal Complaints and Industry Investigations Target Tidal",
"headTitle": "Criminal Complaints and Industry Investigations Target Tidal | KQED",
"content": "\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement last week, Tidal attempted to discredit the Norwegian media outlet, saying: “This is a smear campaign from a publication that once referred to our employee as an ‘Israeli intelligence officer’ and our owner as a ‘crack dealer.’ We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.”\u003c/p>\n\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \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=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement last week, Tidal attempted to discredit the Norwegian media outlet, saying: “This is a smear campaign from a publication that once referred to our employee as an ‘Israeli intelligence officer’ and our owner as a ‘crack dealer.’ We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.”\u003c/p>\n\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \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=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Margot Kidder, who became famous for playing Lois Lane opposite Christopher Reeve in \u003cem>Superman\u003c/em>, has died at her home in Montana. Kidder was 69; her acting career spanned decades, from TV series in the late 1960s to seven films in the past five years.\u003c/p>\n\u003cp>A cause of death has not yet been publicly released for Kidder. Her death was announced by the Franzen-Davis Funeral Home in Livingston, Mont., where she resided. \u003c/p>\n\u003cp>“The actress and activist passed away on Sunday, May 13th, 2018 at her home,” the funeral home said.\u003c/p>\n\u003cp>Margaret Ruth Kidder was born in Canada and honed her acting skills on TV shows such as \u003cem>McQueen\u003c/em>, \u003cem>Nichols\u003c/em>, \u003cem>Banacek \u003c/em>and \u003cem>Mod Squad\u003c/em> before becoming a movie star.\u003c/p>\n\u003cp>After landing a lead role in Brian de Palma’s \u003cem>Sisters \u003c/em>in 1972, Kidder’s film career took off. It hit the stratosphere six years later, when Kidder appeared as Lois Lane in the launching of the \u003cem>Superman \u003c/em>film franchise. She went on to appear in three sequels over the next nine years.\u003c/p>\n\u003cfigure id=\"attachment_13832191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg\" alt=\"Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13832191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016. \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Famous for her smoky voice and for portraying smart, indomitable characters, Kidder also struggled with addiction and bipolar disorder for much of her life. She suffered from a famous breakdown in 1996, when she went missing for several days. When police found her in Glendale, Calif., she was hiding in the bushes behind a house.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Kidder recovered from that incident, she became an advocate for mental health awareness. \u003c/p>\n\u003cp>“I’m not saying it’s all over,” Kidder \u003ca href=\"http://people.com/archive/cover-story-starting-over-vol-46-no-13/\" target=\"_blank\" rel=\"noopener\">told People magazine\u003c/a> after her life derailed in 1996. “I’m saying this is the pattern of my life. In three years I might be having another wig-out. I have no idea. I just have to accept the fact that this is me, or I ain’t gonna make it.”\u003c/p>\n\u003cp>Kidder went to act in dozens of other acting jobs, from recurring roles on TV’s \u003cem>Boston Common \u003c/em>in 1997\u003cem> \u003c/em>to 2009’s \u003cem>Halloween II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For decades, Kidder had lived in a log cabin near Livingston. In addition to promoting mental health issues, she spoke publicly as an anti-war and environmental activist. \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=Actress+Margot+Kidder%2C+Who+Played+Lois+Lane%2C+Dies+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Margot Kidder, who became famous for playing Lois Lane opposite Christopher Reeve in \u003cem>Superman\u003c/em>, has died at her home in Montana. Kidder was 69; her acting career spanned decades, from TV series in the late 1960s to seven films in the past five years.\u003c/p>\n\u003cp>A cause of death has not yet been publicly released for Kidder. Her death was announced by the Franzen-Davis Funeral Home in Livingston, Mont., where she resided. \u003c/p>\n\u003cp>“The actress and activist passed away on Sunday, May 13th, 2018 at her home,” the funeral home said.\u003c/p>\n\u003cp>Margaret Ruth Kidder was born in Canada and honed her acting skills on TV shows such as \u003cem>McQueen\u003c/em>, \u003cem>Nichols\u003c/em>, \u003cem>Banacek \u003c/em>and \u003cem>Mod Squad\u003c/em> before becoming a movie star.\u003c/p>\n\u003cp>After landing a lead role in Brian de Palma’s \u003cem>Sisters \u003c/em>in 1972, Kidder’s film career took off. It hit the stratosphere six years later, when Kidder appeared as Lois Lane in the launching of the \u003cem>Superman \u003c/em>film franchise. She went on to appear in three sequels over the next nine years.\u003c/p>\n\u003cfigure id=\"attachment_13832191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg\" alt=\"Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13832191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016. \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Famous for her smoky voice and for portraying smart, indomitable characters, Kidder also struggled with addiction and bipolar disorder for much of her life. She suffered from a famous breakdown in 1996, when she went missing for several days. When police found her in Glendale, Calif., she was hiding in the bushes behind a house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When it comes to undercutting her glam loveliness for the sake of a meaty role, Charlize Theron is the champ of champs. \u003cem>Meaty\u003c/em>‘s the word: Having packed on the pounds and several tons of vicious attitude to play serial killer Aileen Wuornos in 2003’s \u003cem>Monster\u003c/em> and shed a (virtual) limb or two for 2015’s \u003cem>Mad Max: Fury Road\u003c/em>, Theron comes to us in Jason Reitman’s \u003cem>Tully\u003c/em> lugging a baby bump so massive, you can barely see her bringing up the fleshy rear.\u003c/p>\n\u003cp>Lest we doubt her commitment to looking like most women do shortly after giving birth, there’s a candid tracking shot from behind of her character — third-time mom Marlo — trying to outrun a lissome young athlete in the park. Like the rest of this maddeningly uneven movie, the scene is a little bit funny, a bigger bit cruel, and with it all, oddly moving.\u003c/p>\n\u003cp>https://youtu.be/e5D3O4yCmCg\u003c/p>\n\u003cp>Luckily, with Theron it’s never just about the prosthetics or the visual gags. For her Marlo, it’s all in the eyes, bleary with fatigue and the stress that comes with being the mother of two small children (one of them with special needs, though Marlo’s too exhausted to see anything but the special) and trying to cope with the third, who seems never to stop crying.\u003c/p>\n\u003cp>On schedule, up pops the obligatory set piece where Marlo throws a fit in a school principal’s office. Yet Theron plays even this scenario with the slow deliberation of a woman quietly nearing the end of her rope. Marlo’s steady but preoccupied husband (Ron Livingston) isn’t much help, and though at first she resists when her smug, well-heeled brother (Mark Duplass) presents her with a night nanny, she succumbs when the baby’s arrival finally grinds her to a spaced-out standstill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter Tully (a very good Mackenzie Davis), a slightly manic yet unflappable pixie girl who also happens to be the fulfillment of every overwhelmed parent’s compensatory dreams. Without turning a hair Tully cooks, cleans, gets baby to breastfeed, bakes fluorescent cupcakes for the kids’ entire class. Over time she also becomes Marlo’s confidante; the two become besties; the new mother blooms; the household grows a sly touch of eros. Until, suddenly, there comes a mischievous twist that steers this most realist of dramedies clear into fresh genre waters. And if, like me, you didn’t see the denouement coming, you may say to yourself why, \u003cem>of course\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Tully\u003c/em> is written by Diablo Cody, who also wrote the screenplays for Reitman’s smash hit \u003cem>Juno\u003c/em> and for his bracing \u003cem>Young Adult\u003c/em>, in which Theron starred as a pushing-forty narcissist belatedly trying to get her love-life on track. Cody and Reitman make a marketable team, smoothly packaging topicality in a skin of buoyant mischief that manages to straddle the glib and the true. At her most complacent, Cody can be a master of the breezy put-down, and here she gets off a few volleys of cheap shots at the expense of bougie-hipster parents — not like \u003cem>us\u003c/em>, no, never — who worry about trace elements of caffeine in their decaf, and whose nannies have graduate degrees in early childhood development.\u003c/p>\n\u003cp>Does it matter that Cody, who wrote \u003cem>Tully\u003c/em> after hiring a night nanny to look after her third baby, and Theron, who has two adopted children of her own, can both afford all the help they need? In the sense that Marlo, who both wants and needs to get back to her job in human resources, is portrayed as a 99-percenter with 1-percenter problems, it’s likely that for most moviegoers, \u003cem>Tully\u003c/em> will end up as a wishful fantasy on more levels than one.\u003c/p>\n\u003cp>What saves the movie from unbearable smugness is the lovely duet of Theron and Davis playing their deepening partnership without either posturing or a disclaiming wink at the audience. So much so that we can believe in Tully, a mere stripling with troubles of her own, serenely guiding a woman many years her senior through the black comedy and the sludge of early motherhood, through her dreams of regressive escape, and on into the grownup zone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>Juno\u003c/em> was about the ramifications of getting pregnant way too young, \u003cem>Tully\u003c/em> worries that middle age isn’t much of a help when you’re trying to juggle multiple tasks and roles within a raging-hormonal body you barely recognize. If \u003cem>Young Adult\u003c/em> insisted that an overgrown child stuck in eternal arrested development doesn’t deserve an upbeat ending, \u003cem>Tully\u003c/em> serenely suggests that fulfillment is about the repetition of dreary routine made bearable by the love of others, and the love you bear for them. \u003cem>Tully\u003c/em> may be rounding out a trilogy, but I suspect that Reitman and Cody are re-upping as we speak for \u003cem>What to Expect When You’re Re-Feathering the Empty Nest\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Tully%2C%27+Charlize+Theron+And+Mackenzie+Davis+Make+A+Great+%28Au%29+Pair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter Tully (a very good Mackenzie Davis), a slightly manic yet unflappable pixie girl who also happens to be the fulfillment of every overwhelmed parent’s compensatory dreams. Without turning a hair Tully cooks, cleans, gets baby to breastfeed, bakes fluorescent cupcakes for the kids’ entire class. Over time she also becomes Marlo’s confidante; the two become besties; the new mother blooms; the household grows a sly touch of eros. Until, suddenly, there comes a mischievous twist that steers this most realist of dramedies clear into fresh genre waters. And if, like me, you didn’t see the denouement coming, you may say to yourself why, \u003cem>of course\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Tully\u003c/em> is written by Diablo Cody, who also wrote the screenplays for Reitman’s smash hit \u003cem>Juno\u003c/em> and for his bracing \u003cem>Young Adult\u003c/em>, in which Theron starred as a pushing-forty narcissist belatedly trying to get her love-life on track. Cody and Reitman make a marketable team, smoothly packaging topicality in a skin of buoyant mischief that manages to straddle the glib and the true. At her most complacent, Cody can be a master of the breezy put-down, and here she gets off a few volleys of cheap shots at the expense of bougie-hipster parents — not like \u003cem>us\u003c/em>, no, never — who worry about trace elements of caffeine in their decaf, and whose nannies have graduate degrees in early childhood development.\u003c/p>\n\u003cp>Does it matter that Cody, who wrote \u003cem>Tully\u003c/em> after hiring a night nanny to look after her third baby, and Theron, who has two adopted children of her own, can both afford all the help they need? In the sense that Marlo, who both wants and needs to get back to her job in human resources, is portrayed as a 99-percenter with 1-percenter problems, it’s likely that for most moviegoers, \u003cem>Tully\u003c/em> will end up as a wishful fantasy on more levels than one.\u003c/p>\n\u003cp>What saves the movie from unbearable smugness is the lovely duet of Theron and Davis playing their deepening partnership without either posturing or a disclaiming wink at the audience. So much so that we can believe in Tully, a mere stripling with troubles of her own, serenely guiding a woman many years her senior through the black comedy and the sludge of early motherhood, through her dreams of regressive escape, and on into the grownup zone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>Juno\u003c/em> was about the ramifications of getting pregnant way too young, \u003cem>Tully\u003c/em> worries that middle age isn’t much of a help when you’re trying to juggle multiple tasks and roles within a raging-hormonal body you barely recognize. If \u003cem>Young Adult\u003c/em> insisted that an overgrown child stuck in eternal arrested development doesn’t deserve an upbeat ending, \u003cem>Tully\u003c/em> serenely suggests that fulfillment is about the repetition of dreary routine made bearable by the love of others, and the love you bear for them. \u003cem>Tully\u003c/em> may be rounding out a trilogy, but I suspect that Reitman and Cody are re-upping as we speak for \u003cem>What to Expect When You’re Re-Feathering the Empty Nest\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Tully%2C%27+Charlize+Theron+And+Mackenzie+Davis+Make+A+Great+%28Au%29+Pair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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