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"content": "\u003cp>Craig Mack, the rapper best known for the classic ’90s single “Flava In Ya Ear,” has died. Richard Harvey of the Colleton County Coroner’s office confirmed to NPR Music that Mack died in his home near Walterboro, S.C., around 9 p.m. on March 12, of natural causes. He was 47.\u003c/p>\n\u003cp>Mack initially released \u003ca href=\"https://www.youtube.com/watch?v=vCn7nVOV4wM\" target=\"_blank\" rel=\"noopener\">music\u003c/a> under the moniker MC EZ in the late 1980s. But it was Mack’s Grammy-\u003ca href=\"https://www.grammy.com/grammys/artists/craig-mack\" target=\"_blank\" rel=\"noopener\">nominated\u003c/a>, platinum-\u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=craig+mack#search_section\" target=\"_blank\" rel=\"noopener\">selling\u003c/a> 1994 song “\u003ca href=\"https://www.youtube.com/watch?v=PMbELEUfmIA\" target=\"_blank\" rel=\"noopener\">Flava In Ya Ear\u003c/a>” that made his name. The song was the first single released by Sean Combs’ then-fledgling record label Bad Boy Entertainment. Propelled by the hit, Mack released his debut album, \u003cem>Project Funk da World, \u003c/em>in September, 1994 — another track from the record, “Get Down” also received gold certification, along with the album itself. After that success, Mack left Bad Boy to release his sophomore album, \u003cem>Operation: Get Down\u003c/em>, in 1997. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNFqMx0gY7I\u003c/p>\n\u003cp>Mack subsequently retreated from music, maintaining a quiet life in South Carolina. There, Mack joined the Overcomer Ministry, a congregation led by \u003ca href=\"https://news.google.com/newspapers?id=TD8sAAAAIBAJ&sjid=tc4EAAAAIBAJ&pg=5774,4735557&dq=brother+stair&hl=en\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> evangelist \u003ca href=\"http://blackchristiannews.com/2017/12/south-carolina-radio-evangelist-r-g-stair-arrested-following-sex-assault-allegations-amid-ongoing-fbi-probe/\" target=\"_blank\" rel=\"noopener\">Ralph Gordon Stair\u003c/a>, who was \u003ca href=\"https://www.postandcourier.com/news/women-at-south-carolina-religious-compound-say-preacher-sexually-assaulted/article_6aeb443e-da86-11e7-bf7a-2779c1133934.html\" target=\"_blank\" rel=\"noopener\">charged this past December\u003c/a> with a litany of offenses, including three counts of criminal sexual conduct. A \u003ca href=\"https://www.youtube.com/watch?v=dR1IEw-a7Qw&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">video\u003c/a> which surfaced around 2012 shows Stair beginning an introduction by proclaiming: “Crack Mack is dead! We have somebody who \u003cem>used\u003c/em>\u003cstrong> \u003c/strong>to be Craig Mack — and he didn’t join [our church], God joined \u003cem>him.”\u003c/em> Afterwards, Mack addresses the congregation, responding to Stair’s question of what he used to “do” out in the world by answering: “Wickedness.”\u003c/p>\n\u003cp>Easy Mo Bee, the producer behind “Flava In Ya Ear,” shared on social media that he last talked to the rapper on the phone about three months ago. Bee wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Most of the call was me trying to persuade him to start making music again. He felt like after giving his life to God that maybe he shouldn’t rap again,” Easy Mo Bee \u003ca href=\"https://www.instagram.com/p/BgQO4j8HRfI/\">wrote\u003c/a> on Instagram. “I begged him and explained to him that he had every right to still praise God through his music. I told him that as long as it was genuine and not a blasphemous gimmick, he could still reach souls and spread his message. Finally, he gave in and said ‘Ok Mo Bee, i’ll do it.’ I sent him 5 or 6 tracks and then I never heard back from him. I made a follow-up call and still no Craig. Maybe he knew he was about to die but just didn’t want to tell me … I pray that today he has finally made it into the Kingdom Of Heaven because that’s all that mattered to him.”\u003c/p>\n\u003c/blockquote>\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=Craig+Mack%2C+Hit+Rapper+With+%27Flava+In+Ya+Ear%2C%27+Dead+At+47&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Craig Mack, the rapper best known for the classic ’90s single “Flava In Ya Ear,” has died. Richard Harvey of the Colleton County Coroner’s office confirmed to NPR Music that Mack died in his home near Walterboro, S.C., around 9 p.m. on March 12, of natural causes. He was 47.\u003c/p>\n\u003cp>Mack initially released \u003ca href=\"https://www.youtube.com/watch?v=vCn7nVOV4wM\" target=\"_blank\" rel=\"noopener\">music\u003c/a> under the moniker MC EZ in the late 1980s. But it was Mack’s Grammy-\u003ca href=\"https://www.grammy.com/grammys/artists/craig-mack\" target=\"_blank\" rel=\"noopener\">nominated\u003c/a>, platinum-\u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=craig+mack#search_section\" target=\"_blank\" rel=\"noopener\">selling\u003c/a> 1994 song “\u003ca href=\"https://www.youtube.com/watch?v=PMbELEUfmIA\" target=\"_blank\" rel=\"noopener\">Flava In Ya Ear\u003c/a>” that made his name. The song was the first single released by Sean Combs’ then-fledgling record label Bad Boy Entertainment. Propelled by the hit, Mack released his debut album, \u003cem>Project Funk da World, \u003c/em>in September, 1994 — another track from the record, “Get Down” also received gold certification, along with the album itself. After that success, Mack left Bad Boy to release his sophomore album, \u003cem>Operation: Get Down\u003c/em>, in 1997. \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/GNFqMx0gY7I'\n title='//www.youtube.com/embed/GNFqMx0gY7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mack subsequently retreated from music, maintaining a quiet life in South Carolina. There, Mack joined the Overcomer Ministry, a congregation led by \u003ca href=\"https://news.google.com/newspapers?id=TD8sAAAAIBAJ&sjid=tc4EAAAAIBAJ&pg=5774,4735557&dq=brother+stair&hl=en\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> evangelist \u003ca href=\"http://blackchristiannews.com/2017/12/south-carolina-radio-evangelist-r-g-stair-arrested-following-sex-assault-allegations-amid-ongoing-fbi-probe/\" target=\"_blank\" rel=\"noopener\">Ralph Gordon Stair\u003c/a>, who was \u003ca href=\"https://www.postandcourier.com/news/women-at-south-carolina-religious-compound-say-preacher-sexually-assaulted/article_6aeb443e-da86-11e7-bf7a-2779c1133934.html\" target=\"_blank\" rel=\"noopener\">charged this past December\u003c/a> with a litany of offenses, including three counts of criminal sexual conduct. A \u003ca href=\"https://www.youtube.com/watch?v=dR1IEw-a7Qw&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">video\u003c/a> which surfaced around 2012 shows Stair beginning an introduction by proclaiming: “Crack Mack is dead! We have somebody who \u003cem>used\u003c/em>\u003cstrong> \u003c/strong>to be Craig Mack — and he didn’t join [our church], God joined \u003cem>him.”\u003c/em> Afterwards, Mack addresses the congregation, responding to Stair’s question of what he used to “do” out in the world by answering: “Wickedness.”\u003c/p>\n\u003cp>Easy Mo Bee, the producer behind “Flava In Ya Ear,” shared on social media that he last talked to the rapper on the phone about three months ago. Bee wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Most of the call was me trying to persuade him to start making music again. He felt like after giving his life to God that maybe he shouldn’t rap again,” Easy Mo Bee \u003ca href=\"https://www.instagram.com/p/BgQO4j8HRfI/\">wrote\u003c/a> on Instagram. “I begged him and explained to him that he had every right to still praise God through his music. I told him that as long as it was genuine and not a blasphemous gimmick, he could still reach souls and spread his message. Finally, he gave in and said ‘Ok Mo Bee, i’ll do it.’ I sent him 5 or 6 tracks and then I never heard back from him. I made a follow-up call and still no Craig. Maybe he knew he was about to die but just didn’t want to tell me … I pray that today he has finally made it into the Kingdom Of Heaven because that’s all that mattered to him.”\u003c/p>\n\u003c/blockquote>\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=Craig+Mack%2C+Hit+Rapper+With+%27Flava+In+Ya+Ear%2C%27+Dead+At+47&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "It's Time to Recognize the Ronettes as Rock and Roll Pioneers",
"headTitle": "It’s Time to Recognize the Ronettes as Rock and Roll Pioneers | KQED",
"content": "\u003cp>On Sept. 28, 1963, \u003ca href=\"https://www.npr.org/artists/15396360/the-ronettes\" target=\"_blank\" rel=\"noopener\">The Ronettes\u003c/a> performed on Dick Clark’s \u003cem>American Bandstand\u003c/em>. In \u003ca href=\"https://www.youtube.com/watch?v=IgWVis3_wPM\">the video\u003c/a>, the curtain parts to reveal the three singers dressed in identical long-sleeved pencil dresses, their hair partially swept up in the same half-bouffant that would become part of their signature style. They sway their hips and arms awkwardly to the opening bars of “Be My Baby,” and then Ronnie Spector, standing on the left, opens her mouth. When the camera zooms in, we see her embellishing the lyrics with gestures as she sings them: She points to an unseen audience member on the line “\u003cem>so\u003c/em> \u003cem>proud\u003c/em> of me” and cocks her head with a quick Monroe-esque pout on “\u003cem>turn\u003c/em> their heads.” \u003c/p>\n\u003cp>The micro-movements in the performance — swaying hips, lightly moving hands — were typical of the kind of directions 1960s girl groups received from their mostly male managers and producers, stemming from the polished synchrony of doo-wop singers. On the surface, The Ronettes look like teen girls who have been coached to move in unison and smile for the cameras — part of the reason The Ronettes are often classified as a quintessential pop group. \u003c/p>\n\u003cp>But classifying The Ronettes’ sound as pop leans too heavily on the contents of the lyrics they sang (which they didn’t write) and the instrumental layer behind their voices (which they didn’t produce). If we focused instead on the way The Ronettes’ vocal and visual choices moved the band away from the pristine expectations of tone and clarity (to say nothing of obedience) that characterize ’60s pop girl groups, we could see them laying out a sneaky version of rock and roll disguised as pop. Through the way the group constructed its sound and look, The Ronettes embodied proto-rock transgressions, as their heavy eyeliner, poufed hair and natural New York accents all hint at. The lines between sonic genres are often more permeable than listeners allow, especially as rock was forming, and The Ronettes exposed and maneuvered those malleable boundaries.\u003c/p>\n\u003cp>The group’s debut album, \u003cem>Presenting the Fabulous Ronettes Featuring Veronica\u003c/em>, was released in 1964, when Veronica “Ronnie” Bennett, her sister Estelle Bennett and their cousin Nedra Talley were all in their teens. Their only studio album, \u003cem>Presenting\u003c/em>… collected singles from the previous year, including “Be My Baby.” Five of its twelve tracks had made it to the U.S. \u003cem>Billboard \u003c/em>charts: “Be My Baby” (#2), “Walking in the Rain” (#23), “Baby I Love You” (#24), “Do I Love You?” (#34) and “(The Best Part Of) Breakin’ Up” (#39). In addition to producing the album, Phil Spector wrote or co-wrote all but two of the songs.\u003c/p>\n\u003cp>Their musical transgression centers on Ronnie Spector’s voice, which prefigures the more free, less restrained style that (male) rock vocals would take up in the next couple of years — gravel rather than velvet, and untrained rather than classically molded. Her bombastic ways of singing — from rehearsing in the bathroom to making the sound booth a feminine-only space, to allowing her natural accent to ring true — pushed back against producer Phil Spector’s Svengali-like control.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of Ronnie Spector’s most rock and roll vocal choices was all about taking up space. She spent three days recording her vocals for “Be My Baby,” and her shyness as well as her sense of sound quality influenced her preparation: “I’d do all my vocal rehearsals in the studio’s ladies room,” she says in her memoir, \u003cem>Be My Baby: How I Survived Mascara, Miniskirts, and Madness or My Life as a Fabulous Ronette \u003c/em>(1990), “because I loved the sound I got in there. People talk about how great the echo chamber was in Gold Star, but they never heard the sound in the ladies room.”\u003c/p>\n\u003cp>By finding refuge in the bathroom, she managed to carve out her own space and her own creative process in one of the most famous and demanding recording studios in the world at the time. Men (including Phil Spector and sound engineer Larry Levine) told Ronnie when to stop and start, and controlled the way the music, the beats and the depth of the sound interacted with her voice. But the architecture and quality of \u003cem>her\u003c/em> sound, and the way her body and breath worked to produce it, were hers alone. This space, as Spector describes it, contained only her; men, the supposed arbiters of the developing rock and roll sound, explicitly weren’t allowed in. The rootedness of rock in phallic guitars and loud, bulky drums ignores the way in which feminism itself — asserting a right to one’s own body and voice despite the impositions of powerful men — is in line with rock’s ethos of autonomy.\u003c/p>\n\u003cp>The way The Ronettes constructed their image against the grain of demureness expected of women is part of this rock rebellion, too. Teenage girls in the early 1960s, and especially Black teenage girls, were often expected to be demure and docile. Pop music was meant to signify good behavior, acceptable for family listening around the living room record player. Rock, however — even in its early stages — was sinuous and loud and full of entendre and hidden or suppressed stories. Black artists pioneered the sound and the freedom of rock and roll at the height of American segregation. Despite the rockist focus given to white male artists like \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a>, Buddy Holly and \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>, none of them would have existed without \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a> or Little Richard. The Ronettes’ bad girl look, with piled hair and heavy eyeliner, pushed aside the demureness of their uniform outfits and synchronized movements and pushed back against these gendered expectations, blurring genre lines and signaling a certain kind of refusal to submit.\u003c/p>\n\u003cp>In her memoir, Spector recounts how The Ronettes tweaked their appearance almost in real time backstage at Brooklyn’s Fox Theater, starting in 1962. “Sitting around for hours on end in our dressing room at the Brooklyn Fox, we had plenty of time to work on our look:” darkening eyeliner, ratting hair, and layering mascara, she explains. The Ronettes also had help from their fans, who signaled buy-in for their visual rebellion; the audience loved it, Spector remembers, and their adoration impacted the look. “The louder they applauded, the more mascara we put on the next time,” she writes. “We didn’t have a hit record to grab their attention, so we had to make an impression with our style. None of it was planned out; we just took the look we were born with and extended it… Of course, we exaggerated [the look] on stage, because everything on stage has to be bigger than life.”\u003c/p>\n\u003cp> These rock innovations formed the core of why The Ronettes were considered to be one of the “bad girl” girl groups, in stark contrast to groups like The Chiffons and The Shirelles. In Spector’s memoir, she admits she didn’t shy away from open sex appeal — as opposed to Doris Day’s or Judy Garland’s demureness. “We weren’t afraid to be hot. That was our gimmick,” she says. “When we saw The Shirelles walk on stage with their wide party dresses, we went in the opposite direction and squeezed our bodies into the tightest skirts we could find. Then we’d get out on stage and hike them up to show our legs even more.” Even as The Ronettes were considered pop, the “bad girl” perception shows how rock elements were being allowed into pop in subtle ways. The “bad girl” image Spector and her bandmates crafted pushed the image of what a teenage girl should look like into powerful, quasi-drag territory.\u003c/p>\n\u003cp>Much of the critical discourse about the album, and about The Ronettes in general, misses a crucial fact: Spector herself repeatedly refers to the music she made as rock, not as pop or, really, as anything else stereotypically “girly.” In her memoir, she marked out the interplay of softness and grit that the Ronettes exemplified:\u003c/p>\n\u003cblockquote>\n\u003cp>“[“Be My Baby”] is a rock and roll classic…[It] was a tough record, but it had a sweet side to it, just like the Ronettes. It was the kind of song a street kid would like. And a lot of them did. After that record, the Ronettes were bigger than ever with the kids on the street.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Interestingly, her explanation of the transgressive side of The Ronettes’ look has an undercurrent of “good girl” values as well: “We may have looked like street girls, but I think the audience could tell that under all that makeup, we were really just three innocent teenagers,” she writes. “And I think they liked that combination. The girls loved us because we were different — we followed our own style and didn’t care what anybody thought. And the boys liked us for obvious reasons. The Ronettes were what the girls wanted to be, and what the guys dreamed about.” They offered a rock sensibility to teens that didn’t tread too far past what society expected, marking out a quiet rebellion in a restrictive context, not unlike the one their teenage girl fans navigated.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The masculinized story of control and credit that characterizes the Wall of Sound, and Phil Spector’s over-emphasized role in crafting it, has resolutely left out the voices of the women \u003cem>making\u003c/em> the most interesting part of the sound. The innovation history tends to remember is on Spector’s part, rather than on the part of the singers he worked with; The Ronettes, in particular, had their rock and roll sensibilities railroaded out of their image by the importance placed on Spector’s production. Listening to The Ronettes as rock allows us to hear their rebellion and their humanity much more sharply than we hear Phil Spector’s influence. (It’s still there, of course, but it takes a step back.) In the \u003cem>Bandstand \u003c/em>video, Ronnie Spector’s voice, with her Spanish Harlem accent, cuts through the layers of drums and jangles of the Wall of Sound arrangement. Her facial expressions add an extra layer of sass. Rather than doing exactly what’s expected of her, she’s subtly shifting the terms of acceptable, modest femininity, rebelling just like a rock star. \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=It%27s+Time+To+Recognize+The+Ronettes+As+Rock+And+Roll+Pioneers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 28, 1963, \u003ca href=\"https://www.npr.org/artists/15396360/the-ronettes\" target=\"_blank\" rel=\"noopener\">The Ronettes\u003c/a> performed on Dick Clark’s \u003cem>American Bandstand\u003c/em>. In \u003ca href=\"https://www.youtube.com/watch?v=IgWVis3_wPM\">the video\u003c/a>, the curtain parts to reveal the three singers dressed in identical long-sleeved pencil dresses, their hair partially swept up in the same half-bouffant that would become part of their signature style. They sway their hips and arms awkwardly to the opening bars of “Be My Baby,” and then Ronnie Spector, standing on the left, opens her mouth. When the camera zooms in, we see her embellishing the lyrics with gestures as she sings them: She points to an unseen audience member on the line “\u003cem>so\u003c/em> \u003cem>proud\u003c/em> of me” and cocks her head with a quick Monroe-esque pout on “\u003cem>turn\u003c/em> their heads.” \u003c/p>\n\u003cp>The micro-movements in the performance — swaying hips, lightly moving hands — were typical of the kind of directions 1960s girl groups received from their mostly male managers and producers, stemming from the polished synchrony of doo-wop singers. On the surface, The Ronettes look like teen girls who have been coached to move in unison and smile for the cameras — part of the reason The Ronettes are often classified as a quintessential pop group. \u003c/p>\n\u003cp>But classifying The Ronettes’ sound as pop leans too heavily on the contents of the lyrics they sang (which they didn’t write) and the instrumental layer behind their voices (which they didn’t produce). If we focused instead on the way The Ronettes’ vocal and visual choices moved the band away from the pristine expectations of tone and clarity (to say nothing of obedience) that characterize ’60s pop girl groups, we could see them laying out a sneaky version of rock and roll disguised as pop. Through the way the group constructed its sound and look, The Ronettes embodied proto-rock transgressions, as their heavy eyeliner, poufed hair and natural New York accents all hint at. The lines between sonic genres are often more permeable than listeners allow, especially as rock was forming, and The Ronettes exposed and maneuvered those malleable boundaries.\u003c/p>\n\u003cp>The group’s debut album, \u003cem>Presenting the Fabulous Ronettes Featuring Veronica\u003c/em>, was released in 1964, when Veronica “Ronnie” Bennett, her sister Estelle Bennett and their cousin Nedra Talley were all in their teens. Their only studio album, \u003cem>Presenting\u003c/em>… collected singles from the previous year, including “Be My Baby.” Five of its twelve tracks had made it to the U.S. \u003cem>Billboard \u003c/em>charts: “Be My Baby” (#2), “Walking in the Rain” (#23), “Baby I Love You” (#24), “Do I Love You?” (#34) and “(The Best Part Of) Breakin’ Up” (#39). In addition to producing the album, Phil Spector wrote or co-wrote all but two of the songs.\u003c/p>\n\u003cp>Their musical transgression centers on Ronnie Spector’s voice, which prefigures the more free, less restrained style that (male) rock vocals would take up in the next couple of years — gravel rather than velvet, and untrained rather than classically molded. Her bombastic ways of singing — from rehearsing in the bathroom to making the sound booth a feminine-only space, to allowing her natural accent to ring true — pushed back against producer Phil Spector’s Svengali-like control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of Ronnie Spector’s most rock and roll vocal choices was all about taking up space. She spent three days recording her vocals for “Be My Baby,” and her shyness as well as her sense of sound quality influenced her preparation: “I’d do all my vocal rehearsals in the studio’s ladies room,” she says in her memoir, \u003cem>Be My Baby: How I Survived Mascara, Miniskirts, and Madness or My Life as a Fabulous Ronette \u003c/em>(1990), “because I loved the sound I got in there. People talk about how great the echo chamber was in Gold Star, but they never heard the sound in the ladies room.”\u003c/p>\n\u003cp>By finding refuge in the bathroom, she managed to carve out her own space and her own creative process in one of the most famous and demanding recording studios in the world at the time. Men (including Phil Spector and sound engineer Larry Levine) told Ronnie when to stop and start, and controlled the way the music, the beats and the depth of the sound interacted with her voice. But the architecture and quality of \u003cem>her\u003c/em> sound, and the way her body and breath worked to produce it, were hers alone. This space, as Spector describes it, contained only her; men, the supposed arbiters of the developing rock and roll sound, explicitly weren’t allowed in. The rootedness of rock in phallic guitars and loud, bulky drums ignores the way in which feminism itself — asserting a right to one’s own body and voice despite the impositions of powerful men — is in line with rock’s ethos of autonomy.\u003c/p>\n\u003cp>The way The Ronettes constructed their image against the grain of demureness expected of women is part of this rock rebellion, too. Teenage girls in the early 1960s, and especially Black teenage girls, were often expected to be demure and docile. Pop music was meant to signify good behavior, acceptable for family listening around the living room record player. Rock, however — even in its early stages — was sinuous and loud and full of entendre and hidden or suppressed stories. Black artists pioneered the sound and the freedom of rock and roll at the height of American segregation. Despite the rockist focus given to white male artists like \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a>, Buddy Holly and \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>, none of them would have existed without \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a> or Little Richard. The Ronettes’ bad girl look, with piled hair and heavy eyeliner, pushed aside the demureness of their uniform outfits and synchronized movements and pushed back against these gendered expectations, blurring genre lines and signaling a certain kind of refusal to submit.\u003c/p>\n\u003cp>In her memoir, Spector recounts how The Ronettes tweaked their appearance almost in real time backstage at Brooklyn’s Fox Theater, starting in 1962. “Sitting around for hours on end in our dressing room at the Brooklyn Fox, we had plenty of time to work on our look:” darkening eyeliner, ratting hair, and layering mascara, she explains. The Ronettes also had help from their fans, who signaled buy-in for their visual rebellion; the audience loved it, Spector remembers, and their adoration impacted the look. “The louder they applauded, the more mascara we put on the next time,” she writes. “We didn’t have a hit record to grab their attention, so we had to make an impression with our style. None of it was planned out; we just took the look we were born with and extended it… Of course, we exaggerated [the look] on stage, because everything on stage has to be bigger than life.”\u003c/p>\n\u003cp> These rock innovations formed the core of why The Ronettes were considered to be one of the “bad girl” girl groups, in stark contrast to groups like The Chiffons and The Shirelles. In Spector’s memoir, she admits she didn’t shy away from open sex appeal — as opposed to Doris Day’s or Judy Garland’s demureness. “We weren’t afraid to be hot. That was our gimmick,” she says. “When we saw The Shirelles walk on stage with their wide party dresses, we went in the opposite direction and squeezed our bodies into the tightest skirts we could find. Then we’d get out on stage and hike them up to show our legs even more.” Even as The Ronettes were considered pop, the “bad girl” perception shows how rock elements were being allowed into pop in subtle ways. The “bad girl” image Spector and her bandmates crafted pushed the image of what a teenage girl should look like into powerful, quasi-drag territory.\u003c/p>\n\u003cp>Much of the critical discourse about the album, and about The Ronettes in general, misses a crucial fact: Spector herself repeatedly refers to the music she made as rock, not as pop or, really, as anything else stereotypically “girly.” In her memoir, she marked out the interplay of softness and grit that the Ronettes exemplified:\u003c/p>\n\u003cblockquote>\n\u003cp>“[“Be My Baby”] is a rock and roll classic…[It] was a tough record, but it had a sweet side to it, just like the Ronettes. It was the kind of song a street kid would like. And a lot of them did. After that record, the Ronettes were bigger than ever with the kids on the street.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Interestingly, her explanation of the transgressive side of The Ronettes’ look has an undercurrent of “good girl” values as well: “We may have looked like street girls, but I think the audience could tell that under all that makeup, we were really just three innocent teenagers,” she writes. “And I think they liked that combination. The girls loved us because we were different — we followed our own style and didn’t care what anybody thought. And the boys liked us for obvious reasons. The Ronettes were what the girls wanted to be, and what the guys dreamed about.” They offered a rock sensibility to teens that didn’t tread too far past what society expected, marking out a quiet rebellion in a restrictive context, not unlike the one their teenage girl fans navigated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The masculinized story of control and credit that characterizes the Wall of Sound, and Phil Spector’s over-emphasized role in crafting it, has resolutely left out the voices of the women \u003cem>making\u003c/em> the most interesting part of the sound. The innovation history tends to remember is on Spector’s part, rather than on the part of the singers he worked with; The Ronettes, in particular, had their rock and roll sensibilities railroaded out of their image by the importance placed on Spector’s production. Listening to The Ronettes as rock allows us to hear their rebellion and their humanity much more sharply than we hear Phil Spector’s influence. (It’s still there, of course, but it takes a step back.) In the \u003cem>Bandstand \u003c/em>video, Ronnie Spector’s voice, with her Spanish Harlem accent, cuts through the layers of drums and jangles of the Wall of Sound arrangement. Her facial expressions add an extra layer of sass. Rather than doing exactly what’s expected of her, she’s subtly shifting the terms of acceptable, modest femininity, rebelling just like a rock star. \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=It%27s+Time+To+Recognize+The+Ronettes+As+Rock+And+Roll+Pioneers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you were a teenage girl in 1997 you’d probably recognize the song “Everybody” by the Backstreet Boys. But if you heard it in the Salish language, would you still be able to sing along?\u003c/p>\n\u003cp>Keegan Heron can. He translated the song into Salish and performed it this week for the annual Salish Karaoke contest in Spokane, Wash. He’s only been studying the indigenous language for about nine months.\u003c/p>\n\u003cp>“There’s a lot of words that I didn’t know two weeks ago,” he says. \u003c/p>\n\u003cp>Heron teaches preschool on the Flathead Indian Reservation in Montana. \u003c/p>\n\u003cp>“I work with 4 and 5-year-olds,” he says. “I’m trying to teach them Salish, and so I need to learn first before I can teach them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the end of his karaoke routine Heron was confidently dancing his way across the front of the stage, waving his arms and shouting, “everybody dance!” in Salish to an audience of at least 500 people. (He won second place.)\u003c/p>\n\u003cp>Salish is considered “critically endangered” by the United Nations Educational, Scientific and Cultural Organization.\u003c/p>\n\u003cp>Two-hundred and fifty years ago, thousands of indigenous people spoke a dialect of Salish. Today, in the part of the Northwest from about Spokane to Missoula, around 300 to 400 people speak it fluently.\u003c/p>\n\u003cp>Natalia Garza wants to become one of them. She took third place for her Salish performance of “Dreams,” by Fleetwood Mac. Garza moved to Washington state from Mexico and decided to learn Salish three years ago. \u003c/p>\n\u003cp>“It’s not something that you learn in books,” Garza says. “It does not stay in a classroom.”\u003c/p>\n\u003cp>In the 1870s, Native American children were forced into boarding schools, where they could only speak English. Elders fluent in Salish passed away and there were fewer and fewer people speaking it.\u003c/p>\n\u003cp>To a newbie, Salish seems complicated. It has many new letters; one looks like an upside down “w,” and there are lots of apostrophes. Speakers have to close parts of their throats and move their mouth and lips to make certain sounds. To win the karaoke contest — like the ensemble who performed “My Girl” — you have to show off those skills.\u003c/p>\n\u003cp>Grahm Wiley-Camacho has been speaking a dialect of Salish since childhood — he learned at home from his mother — and now he teaches Salish full time in Spokane. He’s judged the karaoke contest in the past and says it has a specific scoring rubric.\u003c/p>\n\u003cp>“There’s audience response and the showmanship piece of it, and then there’s your singing ability,” he says. “Then the fourth category is how much language did you use; how complex was your language?”\u003c/p>\n\u003cp>As a full-time teacher, Wiley-Camacho uses singing in his classroom to give students more confidence and a wider vocabulary. Eventually some of those students might find their way to the stage on karaoke night. \u003c/p>\n\u003cp>For almost a decade, contest organizer JR Bluff has been up there. This year he dressed as Elvis, and he swung his hips just like the music legend, to the sound of “Hound Dog.”\u003c/p>\n\u003cp>Bluff is a member of the Kalispel tribe and runs its language program. For him, celebrating good times — and the Salish language — are at the heart of the karaoke contest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s fun to be crazy, but to me it’s celebrating,” he smiled. “We’re celebrating, we’re speaking it. It’s fun.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Northwest News Network. To see more, visit \u003ca href=\"http://www.nwnewsnetwork.org/\">Northwest News Network\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Indigenous+Language+Is+Stayin%27+Alive+In+A+Karaoke+Contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were a teenage girl in 1997 you’d probably recognize the song “Everybody” by the Backstreet Boys. But if you heard it in the Salish language, would you still be able to sing along?\u003c/p>\n\u003cp>Keegan Heron can. He translated the song into Salish and performed it this week for the annual Salish Karaoke contest in Spokane, Wash. He’s only been studying the indigenous language for about nine months.\u003c/p>\n\u003cp>“There’s a lot of words that I didn’t know two weeks ago,” he says. \u003c/p>\n\u003cp>Heron teaches preschool on the Flathead Indian Reservation in Montana. \u003c/p>\n\u003cp>“I work with 4 and 5-year-olds,” he says. “I’m trying to teach them Salish, and so I need to learn first before I can teach them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the end of his karaoke routine Heron was confidently dancing his way across the front of the stage, waving his arms and shouting, “everybody dance!” in Salish to an audience of at least 500 people. (He won second place.)\u003c/p>\n\u003cp>Salish is considered “critically endangered” by the United Nations Educational, Scientific and Cultural Organization.\u003c/p>\n\u003cp>Two-hundred and fifty years ago, thousands of indigenous people spoke a dialect of Salish. Today, in the part of the Northwest from about Spokane to Missoula, around 300 to 400 people speak it fluently.\u003c/p>\n\u003cp>Natalia Garza wants to become one of them. She took third place for her Salish performance of “Dreams,” by Fleetwood Mac. Garza moved to Washington state from Mexico and decided to learn Salish three years ago. \u003c/p>\n\u003cp>“It’s not something that you learn in books,” Garza says. “It does not stay in a classroom.”\u003c/p>\n\u003cp>In the 1870s, Native American children were forced into boarding schools, where they could only speak English. Elders fluent in Salish passed away and there were fewer and fewer people speaking it.\u003c/p>\n\u003cp>To a newbie, Salish seems complicated. It has many new letters; one looks like an upside down “w,” and there are lots of apostrophes. Speakers have to close parts of their throats and move their mouth and lips to make certain sounds. To win the karaoke contest — like the ensemble who performed “My Girl” — you have to show off those skills.\u003c/p>\n\u003cp>Grahm Wiley-Camacho has been speaking a dialect of Salish since childhood — he learned at home from his mother — and now he teaches Salish full time in Spokane. He’s judged the karaoke contest in the past and says it has a specific scoring rubric.\u003c/p>\n\u003cp>“There’s audience response and the showmanship piece of it, and then there’s your singing ability,” he says. “Then the fourth category is how much language did you use; how complex was your language?”\u003c/p>\n\u003cp>As a full-time teacher, Wiley-Camacho uses singing in his classroom to give students more confidence and a wider vocabulary. Eventually some of those students might find their way to the stage on karaoke night. \u003c/p>\n\u003cp>For almost a decade, contest organizer JR Bluff has been up there. This year he dressed as Elvis, and he swung his hips just like the music legend, to the sound of “Hound Dog.”\u003c/p>\n\u003cp>Bluff is a member of the Kalispel tribe and runs its language program. For him, celebrating good times — and the Salish language — are at the heart of the karaoke contest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s fun to be crazy, but to me it’s celebrating,” he smiled. “We’re celebrating, we’re speaking it. It’s fun.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Northwest News Network. To see more, visit \u003ca href=\"http://www.nwnewsnetwork.org/\">Northwest News Network\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Indigenous+Language+Is+Stayin%27+Alive+In+A+Karaoke+Contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bands \u003ca href=\"https://www.google.com/url?q=http://www.nme.com/photos/50-stories-behind-band-names-you-probably-don-t-know-1406319&sa=D&ust=1520536788401000&usg=AFQjCNEWjsvjJgPxN57qXdctP04PRaving\" target=\"_blank\" rel=\"noopener\">lift\u003c/a> their names from all sorts of bizarre places — \u003ca href=\"https://www.npr.org/artists/16002572/vampire-weekend\" target=\"_blank\" rel=\"noopener\">abandoned vampire movie scripts\u003c/a>, \u003ca href=\"https://www.npr.org/artists/16699158/fall-out-boy\" target=\"_blank\" rel=\"noopener\">extremely obscure characters from \u003cem>The Simpsons\u003c/em>\u003c/a>. For its part, the Kyoto-based duo of \u003ca href=\"http://www.wearenicelegs.com/\" target=\"_blank\" rel=\"noopener\">Nice Legs\u003c/a> is an homage to a throwaway line from “the worst movie ever made,” \u003cem>The Room\u003c/em>, and a typically stilted little romantic \u003ca href=\"https://theroomscriptblog.files.wordpress.com/2016/04/the-room-original-script-by-tommy-wiseau.pdf\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> between leading man Johnny (Tommy Wiseau) and his girlfriend, Lisa (Juliette Danielle):\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>JOHNNY\u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice legs. \u003c/em>\u003c/p>\n\u003cp>\u003cem>(HE’S MUMBLING.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>LISA\u003c/em>\u003c/p>\n\u003cp>\u003cem>(LISA IS TAPPING HIS SHOULDER.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice pecs. \u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>“I always thought it was really funny because it was very awkward just watching him talk to his girlfriend saying, ‘You have nice legs,'” Greg Sestero, who played Wiseau’s friend Mark in the film, tells NPR Music. “To me, his gesture of his hands to his hair is pretty funny. [The line] stood out to me, as well.”\u003c/p>\n\u003cp>Nice Legs’ band name is a particularly dedicated reflection of \u003cem>The Room\u003c/em>‘s status as a newly minted cult classic, fueled by the film’s mesmerizingly deficient directing, acting and plotting. But aside from its odd tone, at its heart lies the strangely heartwarming/disturbing friendship between Johnny and Mark, which worked, in part, because of the Wiseau and Sistero’s real-life friendship. Their on-screen chemistry — if you care to call it that — is now being revisited in a new two-volume film, \u003cem>Best F(r)iends, \u003c/em>directed by Justin MacGregor.\u003c/p>\n\u003cp>When Nice Legs heard about the onscreen reunion, they sensed an opportunity.\u003c/p>\n\u003cp>“Basically, we saw that a new Tommy and Greg film was in production,” band member Mark Lentz tells NPR Music. “Then we dug around until we found the email of the production company.” From there, he lobbed an email into the abyss. For six months, nothing but radio silence. Then: “They responded out of the blue asking to work with us,” he says. “We took it as a good sign they opened the email with, ‘Oh hai, Mark!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OTu9N40E_MI\u003c/p>\n\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\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/OTu9N40E_MI'\n title='//www.youtube.com/embed/OTu9N40E_MI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Writer Sherman Alexie has decided not to accept a prestigious literary prize he was awarded in February, as he faces multiple allegations of sexual harassment. \u003c/p>\n\u003cp>Alexie, one of the country’s best known Native American writers, was chosen for the Carnegie Medal and a $5,000 prize by the American Library Association for his nonfiction book about his mother, \u003ca href=\"https://www.npr.org/2017/06/24/533969802/fresh-air-weekend-roxane-gay-and-sherman-alexie\">\u003cem>You Don’t Have to Say You Love Me: A Memoir\u003c/em>\u003c/a>. The association plans to hand out a slate of awards at its annual conference in June.\u003c/p>\n\u003cp>In a statement issued Friday the association wrote, “We acknowledge [Alexie’s] decision and will not award the Carnegie nonfiction medal in 2018.”\u003c/p>\n\u003cp>“The ALA believes that every person has the right to a safe environment free from sexual harassment,” the group added. \u003c/p>\n\u003cp>As NPR’s Lynn Neary \u003ca href=\"https://www.npr.org/2018/03/05/589909379/it-just-felt-very-wrong-sherman-alexies-accusers-go-on-the-record\">reported\u003c/a>, a number of women, including three who spoke on the record to the network, have accused Alexie of predatory behavior ranging from inappropriate comments to unwanted sexual advances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After rumors about his behavior began circulating on social media last week, Alexie \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. He also acknowledged “there are women telling the truth,” and he apologized to the people he has hurt, without providing specific details. \u003c/p>\n\u003cp>But he also said he had “no recollection of physically or verbally threatening anybody or their careers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ALA pledged to support “members members, their colleagues, and their community members” in addressing sexual harassment issues by providing resources and referral services on its \u003ca href=\"http://www.ala.org/educationcareers/harassment-resources\">website\u003c/a>. \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=Beset+By+Sexual+Harassment+Claims%2C+Sherman+Alexie+Declines+Literary+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer Sherman Alexie has decided not to accept a prestigious literary prize he was awarded in February, as he faces multiple allegations of sexual harassment. \u003c/p>\n\u003cp>Alexie, one of the country’s best known Native American writers, was chosen for the Carnegie Medal and a $5,000 prize by the American Library Association for his nonfiction book about his mother, \u003ca href=\"https://www.npr.org/2017/06/24/533969802/fresh-air-weekend-roxane-gay-and-sherman-alexie\">\u003cem>You Don’t Have to Say You Love Me: A Memoir\u003c/em>\u003c/a>. The association plans to hand out a slate of awards at its annual conference in June.\u003c/p>\n\u003cp>In a statement issued Friday the association wrote, “We acknowledge [Alexie’s] decision and will not award the Carnegie nonfiction medal in 2018.”\u003c/p>\n\u003cp>“The ALA believes that every person has the right to a safe environment free from sexual harassment,” the group added. \u003c/p>\n\u003cp>As NPR’s Lynn Neary \u003ca href=\"https://www.npr.org/2018/03/05/589909379/it-just-felt-very-wrong-sherman-alexies-accusers-go-on-the-record\">reported\u003c/a>, a number of women, including three who spoke on the record to the network, have accused Alexie of predatory behavior ranging from inappropriate comments to unwanted sexual advances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After rumors about his behavior began circulating on social media last week, Alexie \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. He also acknowledged “there are women telling the truth,” and he apologized to the people he has hurt, without providing specific details. \u003c/p>\n\u003cp>But he also said he had “no recollection of physically or verbally threatening anybody or their careers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ALA pledged to support “members members, their colleagues, and their community members” in addressing sexual harassment issues by providing resources and referral services on its \u003ca href=\"http://www.ala.org/educationcareers/harassment-resources\">website\u003c/a>. \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=Beset+By+Sexual+Harassment+Claims%2C+Sherman+Alexie+Declines+Literary+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Former President Barack Obama is in negotiations with Netflix to produce a series of high-profile shows, according to a story in \u003ca href=\"https://www.nytimes.com/2018/03/08/us/politics/obama-netflix-shows.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>The paper, citing people who are familiar with the “advanced” discussions, reports:\u003c/p>\n\u003cblockquote>\n\u003cp data-para-count=\"319\" data-total-count=\"579\">“Under terms of a proposed deal, which is not yet final, Netflix would pay Mr. Obama and his wife, Michelle, for exclusive content that would be available only on the streaming service, which has nearly 118 million subscribers around the world. The number of episodes and the formats for the shows have not been decided.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Mr. Obama does not intend to use his Netflix shows to directly respond to President Trump or conservative critics, according to people familiar with discussions about the programming. They said the Obamas had talked about producing shows that highlight inspirational stories.”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Multiple show concepts are under consideration.\u003c/p>\n\u003cp data-para-count=\"294\" data-total-count=\"1895\">In one possible show idea, Obama could moderate conversations on topics that dominated his presidency — health care, voting rights, immigration, foreign policy, climate change — and that have continued to divide a polarized American electorate during President Trump’s time in office.\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">Another program could feature the former first lady on topics, like nutrition, that she championed in the White House. The Obamas could also lend their brand — and their endorsement — to documentaries or fictional programming on Netflix that align with their beliefs and values.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">It’s unclear how much the Obamas would be paid. Executives from Apple and Amazon, which have their own streaming services, are said to have expressed interest in talking with the former president about content deals.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“President and Mrs. Obama have always believed in the power of storytelling to inspire,” Eric Schultz, a senior adviser to the former president, told the T\u003cem>imes\u003c/em> Thursday.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Throughout their lives, they have lifted up stories of people whose efforts to make a difference are quietly changing the world for the better. As they consider their future personal plans, they continue to explore new ways to help others tell and share their stories,” Schultz said.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">A Netflix spokesman declined to comment to media organizations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Netflix reports that they have more than 117 million subscribers, 55 million of whom are in the U.S. \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=Obama+In+Talks+To+Produce+Shows+For+Netflix%2C+Report+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former President Barack Obama is in negotiations with Netflix to produce a series of high-profile shows, according to a story in \u003ca href=\"https://www.nytimes.com/2018/03/08/us/politics/obama-netflix-shows.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>The paper, citing people who are familiar with the “advanced” discussions, reports:\u003c/p>\n\u003cblockquote>\n\u003cp data-para-count=\"319\" data-total-count=\"579\">“Under terms of a proposed deal, which is not yet final, Netflix would pay Mr. Obama and his wife, Michelle, for exclusive content that would be available only on the streaming service, which has nearly 118 million subscribers around the world. The number of episodes and the formats for the shows have not been decided.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Mr. Obama does not intend to use his Netflix shows to directly respond to President Trump or conservative critics, according to people familiar with discussions about the programming. They said the Obamas had talked about producing shows that highlight inspirational stories.”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Multiple show concepts are under consideration.\u003c/p>\n\u003cp data-para-count=\"294\" data-total-count=\"1895\">In one possible show idea, Obama could moderate conversations on topics that dominated his presidency — health care, voting rights, immigration, foreign policy, climate change — and that have continued to divide a polarized American electorate during President Trump’s time in office.\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">Another program could feature the former first lady on topics, like nutrition, that she championed in the White House. The Obamas could also lend their brand — and their endorsement — to documentaries or fictional programming on Netflix that align with their beliefs and values.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">It’s unclear how much the Obamas would be paid. Executives from Apple and Amazon, which have their own streaming services, are said to have expressed interest in talking with the former president about content deals.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“President and Mrs. Obama have always believed in the power of storytelling to inspire,” Eric Schultz, a senior adviser to the former president, told the T\u003cem>imes\u003c/em> Thursday.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Throughout their lives, they have lifted up stories of people whose efforts to make a difference are quietly changing the world for the better. As they consider their future personal plans, they continue to explore new ways to help others tell and share their stories,” Schultz said.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">A Netflix spokesman declined to comment to media organizations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Netflix reports that they have more than 117 million subscribers, 55 million of whom are in the U.S. \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=Obama+In+Talks+To+Produce+Shows+For+Netflix%2C+Report+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\u003c/p>\n\u003cp>https://youtu.be/AAFRI12Cxb0\u003c/p>\n\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\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/AAFRI12Cxb0'\n title='//www.youtube.com/embed/AAFRI12Cxb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Architecture is a Backdrop for Life,' Says 2018 Pritzker Winner Balkrishna Doshi",
"headTitle": "‘Architecture is a Backdrop for Life,’ Says 2018 Pritzker Winner Balkrishna Doshi | KQED",
"content": "\u003cp>Bal Krishna is the name sometimes given to the young Hindu god Krishna. Balkrishna Doshi was named for him, when he was born in 1927.\u003c/p>\n\u003cp>“They wanted me to remain young,” the 90-year-old architect explains, as he bursts into peals of laughter.\u003c/p>\n\u003cfigure id=\"attachment_13826488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg\" alt=\"Doshi started studying architecture in 1947, the same year India gained independence.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi started studying architecture in 1947, the same year India gained independence. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi is the newest winner of the Pritzker Architecture Prize, known as the Nobel for architects.\u003c/p>\n\u003cp>Over the course of six decades, he has become famous in his native India as an educator who transformed practices in his field, partly by establishing several schools of architecture and design. He has built more than a hundred buildings that reflect his investment in local materials, social change and the environment. As a student and young architect himself, Doshi worked with two of the great Modernists of the 20th century: Le Corbusier and Louis Kahn.\u003c/p>\n\u003cp>“For me, the best lessons ever given by Le Corbusier was by drawing on my table — he was sitting on the table and drawing with me,” Doshi tells NPR. “So he was showing me how people would move, how they would go, how the birds would fly through the buildings, how you would see nature, landscapes. And when he drew a sketch of a tree, you could see the tree \u003cem>moving\u003c/em>. And I think those experiences have stayed with me, and connected me to my childhood and my family and my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Doshi started studying architecture in 1947, the same year India gained independence. His family built furniture, not buildings, but one of the architect’s earliest inspirations was his grandfather’s house, upon which new levels were repeatedly added, to accommodate three uncles and their families.\u003c/p>\n\u003cp>“I always sensed the space as alive,” Doshi remembers. “Space and light and the kind of movement that gets into the space for me are very, very significant. That’s what generates a dialogue. That’s what generates activities. And that’s where you begin to become part of life. My architecture philosophy is: Architecture is a backdrop for life.”\u003c/p>\n\u003cfigure id=\"attachment_13826486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg\" alt=\"Doshi's design for Bangalore's Indian Institute of Management was inspired by traditional maze-like Indian cities and temples.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Bangalore’s Indian Institute of Management was inspired by traditional maze-like Indian cities and temples. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi’s most significant buildings over the past decades include two housing projects and at least 10 schools of higher education, ranging from the Indian Institute of Management in Lucknow to New Delhi’s National Institute of Fashion Technology.\u003c/p>\n\u003cp>He remembers sitting outside under a tree for some of his childhood classes, so when he designs buildings meant for education, Doshi aims to connect the students with their natural environment. “We are constantly preoccupied with ourselves,” he tells NPR. “And we are never aware of what goes on around us, or what the space is. And for me, [the] experiences I try to create in the work are those where people really begin to feel what is here and inside them, and what brings it out.”\u003c/p>\n\u003cfigure id=\"attachment_13826489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg\" alt=\"Doshi's design for Ahmedabad's Centre for Environmental Planning and Technology dates back to 1966.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Ahmedabad’s Centre for Environmental Planning and Technology dates back to 1966. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While giving the \u003ca href=\"https://www.youtube.com/watch?v=H_kz-KxzExs\" target=\"_blank\" rel=\"noopener\">annual architecture lecture last year\u003c/a> at the Royal Academy of Arts in London, Doshi remarked on the three principles that guide his work: “porosity, paradox and practice.” He also compared his architecture to a celebratory Indian meal, with lots of elements meant to be consumed in any order, rather than sequentially; diners may experience the meal however they please.\u003c/p>\n\u003cp>As an example, Doshi pointed to his own office, Sangath, in the city of Ahmedabad, which he completed in 1980.\u003c/p>\n\u003cp>“You don’t see the place as an office because it doesn’t look like an office, really,” he explains. “There’s a garden. Meandering through, you don’t see anybody. So you wonder whether the office has any people or not. You don’t know where the entrance is. So actually, it’s a surprise to discover it. But in the meantime, you change your attitude. You’ve forgotten the crowd. Then you are listening to the music that’s going on through the small speakers around. Then you go into the office and you are … below ground. I think it’s like a journey. Architecture is a journey — a journey of discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13826490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg\" alt=\"Doshi created Ahmedabad's Institute of Indology building in 1962.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi created Ahmedabad’s Institute of Indology building in 1962. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s exactly what he wants visitors to all of his buildings to experience.\u003c/p>\n\u003cp>“I want them to forget why they came. This is the way to hypnotize them,” the Pritzker winner explains, his voice catching with laughter. “This is such a wonderful thing to do. Why should we take architecture seriously?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balkrishna Doshi believes that, like life itself, architecture should be experienced with exuberance and wonder, and with an abiding sense of its endless possibilities. \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=%27Architecture+Is+A+Backdrop+For+Life%2C%27+Says+2018+Pritzker+Winner+Balkrishna+Doshi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bal Krishna is the name sometimes given to the young Hindu god Krishna. Balkrishna Doshi was named for him, when he was born in 1927.\u003c/p>\n\u003cp>“They wanted me to remain young,” the 90-year-old architect explains, as he bursts into peals of laughter.\u003c/p>\n\u003cfigure id=\"attachment_13826488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg\" alt=\"Doshi started studying architecture in 1947, the same year India gained independence.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi started studying architecture in 1947, the same year India gained independence. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi is the newest winner of the Pritzker Architecture Prize, known as the Nobel for architects.\u003c/p>\n\u003cp>Over the course of six decades, he has become famous in his native India as an educator who transformed practices in his field, partly by establishing several schools of architecture and design. He has built more than a hundred buildings that reflect his investment in local materials, social change and the environment. As a student and young architect himself, Doshi worked with two of the great Modernists of the 20th century: Le Corbusier and Louis Kahn.\u003c/p>\n\u003cp>“For me, the best lessons ever given by Le Corbusier was by drawing on my table — he was sitting on the table and drawing with me,” Doshi tells NPR. “So he was showing me how people would move, how they would go, how the birds would fly through the buildings, how you would see nature, landscapes. And when he drew a sketch of a tree, you could see the tree \u003cem>moving\u003c/em>. And I think those experiences have stayed with me, and connected me to my childhood and my family and my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Doshi started studying architecture in 1947, the same year India gained independence. His family built furniture, not buildings, but one of the architect’s earliest inspirations was his grandfather’s house, upon which new levels were repeatedly added, to accommodate three uncles and their families.\u003c/p>\n\u003cp>“I always sensed the space as alive,” Doshi remembers. “Space and light and the kind of movement that gets into the space for me are very, very significant. That’s what generates a dialogue. That’s what generates activities. And that’s where you begin to become part of life. My architecture philosophy is: Architecture is a backdrop for life.”\u003c/p>\n\u003cfigure id=\"attachment_13826486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg\" alt=\"Doshi's design for Bangalore's Indian Institute of Management was inspired by traditional maze-like Indian cities and temples.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Bangalore’s Indian Institute of Management was inspired by traditional maze-like Indian cities and temples. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi’s most significant buildings over the past decades include two housing projects and at least 10 schools of higher education, ranging from the Indian Institute of Management in Lucknow to New Delhi’s National Institute of Fashion Technology.\u003c/p>\n\u003cp>He remembers sitting outside under a tree for some of his childhood classes, so when he designs buildings meant for education, Doshi aims to connect the students with their natural environment. “We are constantly preoccupied with ourselves,” he tells NPR. “And we are never aware of what goes on around us, or what the space is. And for me, [the] experiences I try to create in the work are those where people really begin to feel what is here and inside them, and what brings it out.”\u003c/p>\n\u003cfigure id=\"attachment_13826489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg\" alt=\"Doshi's design for Ahmedabad's Centre for Environmental Planning and Technology dates back to 1966.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Ahmedabad’s Centre for Environmental Planning and Technology dates back to 1966. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While giving the \u003ca href=\"https://www.youtube.com/watch?v=H_kz-KxzExs\" target=\"_blank\" rel=\"noopener\">annual architecture lecture last year\u003c/a> at the Royal Academy of Arts in London, Doshi remarked on the three principles that guide his work: “porosity, paradox and practice.” He also compared his architecture to a celebratory Indian meal, with lots of elements meant to be consumed in any order, rather than sequentially; diners may experience the meal however they please.\u003c/p>\n\u003cp>As an example, Doshi pointed to his own office, Sangath, in the city of Ahmedabad, which he completed in 1980.\u003c/p>\n\u003cp>“You don’t see the place as an office because it doesn’t look like an office, really,” he explains. “There’s a garden. Meandering through, you don’t see anybody. So you wonder whether the office has any people or not. You don’t know where the entrance is. So actually, it’s a surprise to discover it. But in the meantime, you change your attitude. You’ve forgotten the crowd. Then you are listening to the music that’s going on through the small speakers around. Then you go into the office and you are … below ground. I think it’s like a journey. Architecture is a journey — a journey of discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13826490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg\" alt=\"Doshi created Ahmedabad's Institute of Indology building in 1962.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi created Ahmedabad’s Institute of Indology building in 1962. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s exactly what he wants visitors to all of his buildings to experience.\u003c/p>\n\u003cp>“I want them to forget why they came. This is the way to hypnotize them,” the Pritzker winner explains, his voice catching with laughter. “This is such a wonderful thing to do. Why should we take architecture seriously?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balkrishna Doshi believes that, like life itself, architecture should be experienced with exuberance and wonder, and with an abiding sense of its endless possibilities. \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=%27Architecture+Is+A+Backdrop+For+Life%2C%27+Says+2018+Pritzker+Winner+Balkrishna+Doshi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Deal to Take Over the Weinstein Co. Falls Through",
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"content": "\u003cp>The effort by a group of investors to buy the Weinstein Co., founded by the disgraced Hollywood mogul Harvey Weinstein, has ended.\u003c/p>\n\u003cp>The collapse of the deal was confirmed in a statement issued Tuesday by Maria Contreras-Sweet, a former Obama administration official.\u003c/p>\n\u003cblockquote>\n\u003cp>“All of us have worked in earnest on the transaction to purchase the assets of The Weinstein Company. However, after signing and entering into the confirmatory diligence phase, we have received disappointing information about the viability of completing this transaction.\u003c/p>\n\u003cp>“As a result, we have decided to terminate this transaction.”\u003c/p>\n\u003c/blockquote>\n\u003cp>A source familiar with the deal told NPR that the “disappointing information” was the revelation of another $50 million-plus of debt, in addition to that previously known by the investors. Another source close to the negotiations said it was a combination of the new information and the worry that more debt could be uncovered later that killed the deal.\u003c/p>\n\u003cp>Contreras-Sweet had headed the Small Business Administration under President Barack Obama. She led a group of investors backed by billionaire Ron Burkle.\u003c/p>\n\u003cp>As the Two-Way \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/01/590091949/investor-group-has-deal-to-buy-weinstein-co-start-new-movie-studio\">reported\u003c/a>, the investor group had hoped to salvage the New York-based Weinstein Co. after it announced in late February that it would file for bankruptcy in the wake of a storm of allegations of sexual misconduct, including rape, against Harvey Weinstein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company also was hit by a civil rights lawsuit filed by New York Attorney General Eric Schneiderman alleging that it broke state laws against sexual harassment and discrimination.\u003c/p>\n\u003cp>“We’ll be disappointed if the parties cannot work out their differences and close the deal. Our lawsuit against the Weinstein Company, Bob Weinstein, and Harvey Weinstein remains active and our investigation is ongoing,” said Schneiderman’s press secretary Amy Spitalnick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Contreras-Sweet thanked Schneiderman, Burkle and other investors involved in the now-collapsed deal. She also left open the possibility of pursuing company assets in bankruptcy proceedings.\u003c/p>\n\u003cblockquote>\n\u003cp>“I believe that our vision to create a women-led film studio is still the correct course of action. To that end, we will consider acquiring assets that may become available in the event of bankruptcy proceedings, as well as other opportunities that may become available in the entertainment industry.\u003c/p>\n\u003cp>“I remain committed to working to advance women’s business ownership in all sectors and to inspire girls to envision their futures as leaders of important companies.”\u003c/p>\n\u003c/blockquote>\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=Deal+To+Take+Over+The+Weinstein+Co.+Falls+Through&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The effort by a group of investors to buy the Weinstein Co., founded by the disgraced Hollywood mogul Harvey Weinstein, has ended.\u003c/p>\n\u003cp>The collapse of the deal was confirmed in a statement issued Tuesday by Maria Contreras-Sweet, a former Obama administration official.\u003c/p>\n\u003cblockquote>\n\u003cp>“All of us have worked in earnest on the transaction to purchase the assets of The Weinstein Company. However, after signing and entering into the confirmatory diligence phase, we have received disappointing information about the viability of completing this transaction.\u003c/p>\n\u003cp>“As a result, we have decided to terminate this transaction.”\u003c/p>\n\u003c/blockquote>\n\u003cp>A source familiar with the deal told NPR that the “disappointing information” was the revelation of another $50 million-plus of debt, in addition to that previously known by the investors. Another source close to the negotiations said it was a combination of the new information and the worry that more debt could be uncovered later that killed the deal.\u003c/p>\n\u003cp>Contreras-Sweet had headed the Small Business Administration under President Barack Obama. She led a group of investors backed by billionaire Ron Burkle.\u003c/p>\n\u003cp>As the Two-Way \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/01/590091949/investor-group-has-deal-to-buy-weinstein-co-start-new-movie-studio\">reported\u003c/a>, the investor group had hoped to salvage the New York-based Weinstein Co. after it announced in late February that it would file for bankruptcy in the wake of a storm of allegations of sexual misconduct, including rape, against Harvey Weinstein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company also was hit by a civil rights lawsuit filed by New York Attorney General Eric Schneiderman alleging that it broke state laws against sexual harassment and discrimination.\u003c/p>\n\u003cp>“We’ll be disappointed if the parties cannot work out their differences and close the deal. Our lawsuit against the Weinstein Company, Bob Weinstein, and Harvey Weinstein remains active and our investigation is ongoing,” said Schneiderman’s press secretary Amy Spitalnick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Contreras-Sweet thanked Schneiderman, Burkle and other investors involved in the now-collapsed deal. She also left open the possibility of pursuing company assets in bankruptcy proceedings.\u003c/p>\n\u003cblockquote>\n\u003cp>“I believe that our vision to create a women-led film studio is still the correct course of action. To that end, we will consider acquiring assets that may become available in the event of bankruptcy proceedings, as well as other opportunities that may become available in the entertainment industry.\u003c/p>\n\u003cp>“I remain committed to working to advance women’s business ownership in all sectors and to inspire girls to envision their futures as leaders of important companies.”\u003c/p>\n\u003c/blockquote>\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=Deal+To+Take+Over+The+Weinstein+Co.+Falls+Through&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 'Wrinkle In Time' Movie Began as a Fifth-Grader's Dream",
"headTitle": "The ‘Wrinkle In Time’ Movie Began as a Fifth-Grader’s Dream | KQED",
"content": "\u003cp>To create the fantastical, otherworldly story in \u003cem>A Wrinkle In Time\u003c/em>, the cast and crew traveled to the mountains of New Zealand and to a sequoia forest in Northern California. They also created elaborate sets on a soundstage in Santa Clarita, north of Los Angeles, which is where director Ava DuVernay was behind the camera over a year ago.\u003c/p>\n\u003cp>She was shooting the climactic action sequence of the science fantasy movie. Actors Storm Reid and Chris Pine ran though a complicated set that would later be digitally rendered to represent a tesseract — a portal through space and time, by way of a fifth dimension.\u003c/p>\n\u003cp>When DuVernay became the first African-American woman to direct a movie with a budget over $100 million, it was her job to help create new worlds. That included hiring a diverse cast and crew.\u003c/p>\n\u003cp>“I’m proud of what this crew looks like,” DuVernay says. “It looks like the real world. Different kinds of people, colors, creeds, cultures of people. I cast it with what came to my mind, what came to my imagination, what came to my heart.”\u003c/p>\n\u003cp>DuVernay imagined the hero of the story — Meg Murry — as a biracial teen with curly hair and glasses. She leaves her home (filmed in Compton, Calif., DuVernay’s hometown) and travels through time and space looking for her father, a scientist who has mysteriously disappeared.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meg’s father is portrayed by Chris Pine, the blond and blue-eyed actor who played \u003cem>Star Trek\u003c/em>‘s Captain Kirk and \u003cem>Wonder Woman\u003c/em>‘s boyfriend. Meg herself is played by 14-year-old Storm Reid, who made her debut in the Oscar-winning film \u003cem>Twelve Years A Slave\u003c/em>. Here’s how she explains her role:\u003c/p>\n\u003cp>“Meg is a lost teenager, as in trying to find herself,” Reid says. “And she’s just getting in a lot of trouble. She is worried about her dad, and her dad’s been missing for the past four years, and not knowing if her dad really did get lost in the universe or if her dad left her.”\u003c/p>\n\u003cp>In her search, Meg goes on an interplanetary adventure with her precocious little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller). They’re guided by three mysterious celestial beings — Mrs. Whatsit, Mrs. Who, and Mrs. Which — played by Reese Witherspoon, Mindy Kaling and Oprah Winfrey, respectively.\u003c/p>\n\u003cp>It’s Mrs. Which who tells Meg that she’s the only one who can save her father from an evil in the universe. “Be a warrior,” she urges.\u003c/p>\n\u003cfigure id=\"attachment_13826428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg\" alt=\"L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney's 'A Wrinkle In Time.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney’s ‘A Wrinkle In Time.’ \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get to the origin of this film, you have to wrinkle time back to the early 1960s, when Madeleine L’Engle finished a young adult novel inspired by quantum physics. It opens with the familiar line: “It was a dark and stormy night.”\u003c/p>\n\u003cp>She was rejected by dozens of publishers who said the themes were too complicated for kids. But Farrar, Straus and Giroux took a chance, publishing\u003cem> A Wrinkle In Time\u003c/em> in 1962. The following year, the sci-fi book with a female hero won a prestigious Newbery Award for children’s literature.\u003c/p>\n\u003cp>And it caught the imagination of a Los Angeles fifth grader named Catherine Hand. She says she’d been sent to her school library for talking too much in class.\u003c/p>\n\u003cp>“And this librarian comes over to me and says, ‘I have a book I think that you would like,'” Hand says. “‘It’s about a little girl just like you.'”\u003c/p>\n\u003cp>That night, she sat down with the book. The Santa Ana winds were blowing through the open window of her bedroom.\u003c/p>\n\u003cp>“It was a dark and stormy night,” Hand says. “And I read the book. I loved it. And I started a letter to Walt Disney to tell him about this book and have me star as Meg. And I was a little shy in sending him the letter, so I kind of put it to the side.”\u003c/p>\n\u003cp>Walt Disney died a year later.\u003c/p>\n\u003cp>“And I knew of nobody who made movies for children other than Walt Disney,” Hand says. “So I made a promise to myself that I would grow up and make the movie.”\u003c/p>\n\u003cp>Fast forward through time and space to 1979: Catherine Hand is in her 20s and is an executive assistant to writer-producer Norman Lear — creator of hit 1970s TV shows such as \u003cem>All In The Family\u003c/em> and \u003cem>The Jeffersons\u003c/em>. Hand says she convinced him to ask for the movie rights to her favorite book. Then she met up with Madeleine L’Engle at the restaurant on top of the World Trade Center.\u003c/p>\n\u003cp>“I was so nervous,” Hand says. “I mean, to me, she had been the goddess in my life. She had painted the picture of the universe that was so real to me. And we’re sitting at lunch and she leans over and she says, ‘You know, there really is such a thing as a tesseract.’ And I thought: Oh my god! I’m sitting here with Mrs. Whatsit!”\u003c/p>\n\u003cp>L’Engle gave her blessing — and the movie rights — to Lear’s company. But Lear’s first choice as director, Stanley Kubrick, passed on the project.\u003c/p>\n\u003cp>“And I went through many, many different writers, many different screenplays. I worked on it for about 10 years with Norman. And then his option was up. And by that time, I had become extremely close to Madeleine. And so basically she said, ‘Well, OK, you go set it up someplace else, and I won’t sign anything unless you’re the producer.'”\u003c/p>\n\u003cp>Hand went on to become vice president of Embassy Pictures and development director for Francis Ford Coppola’s American Zoetrope production company. She also worked in politics, helping launch the liberal advocacy group People for the American Way. And for decades, she continued to pursue \u003cem>A Wrinkle In Time\u003c/em> as a movie.\u003c/p>\n\u003cp>Finally, in 2003, Hand executive-produced a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1890065\">made-for-TV version\u003c/a> by Miramax and ABC Films. But Hand says she and L’Engle, who died in 2007, felt the final product fell flat.\u003c/p>\n\u003cp>“She was disappointed with that and so was I,” she says. “We had so many constraints. And number one was budget. At the end of the day, you take a look at it and go: Wait a minute, was that my childhood dream? No it’s not. So it took another 14 years to get here.”\u003c/p>\n\u003cp>So 54 years after she first read the book, Hand is now one of the producers for Disney’s new $100 million dollar film.\u003c/p>\n\u003cp>“It’s a very emotional story,” she says. “It’s about growing up. You know, what is good, what is evil, what is family, what is love — amidst a cosmic backdrop of a grand adventure. I used to say it was it was a cross between \u003cem>The Wizard Of Oz\u003c/em> and \u003cem>Star Wars\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13826433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg\" alt=\"'A Wrinkle In Time' follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O'Keefe (Levi Miller) in their adventures through space and time.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wrinkle In Time’ follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller) in their adventures through space and time. \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back on set, director Ava DuVernay says L’Engle had a lot to say about society.\u003c/p>\n\u003cp>“You know, the battle of light and dark, the moral battles that are happening with the characters in the film, certainly figure into what folks might be thinking about right now — politically, culturally, economically,” she says. “It existed for the author at the time that she wrote it … and certainly we haven’t combatted those issues now. So this material still resonates today.”\u003c/p>\n\u003cp>Over the years, some people have objected to the book’s themes. \u003cem>A Wrinkle In Time\u003c/em> remains one of the most frequently banned American books.\u003c/p>\n\u003cp>“That’s why this book is awesome,” DuVernay says. “It was a banned book. That’s my favorite thing about this project. It’s like on the top 10 banned book list, and that just makes me say: Yes! Let’s do it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>DuVernay says this is the right moment to tell a story about fighting darkness with light. \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=The+%27Wrinkle+In+Time%27+Movie+Began+As+A+Fifth-Grader%27s+Dream&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To create the fantastical, otherworldly story in \u003cem>A Wrinkle In Time\u003c/em>, the cast and crew traveled to the mountains of New Zealand and to a sequoia forest in Northern California. They also created elaborate sets on a soundstage in Santa Clarita, north of Los Angeles, which is where director Ava DuVernay was behind the camera over a year ago.\u003c/p>\n\u003cp>She was shooting the climactic action sequence of the science fantasy movie. Actors Storm Reid and Chris Pine ran though a complicated set that would later be digitally rendered to represent a tesseract — a portal through space and time, by way of a fifth dimension.\u003c/p>\n\u003cp>When DuVernay became the first African-American woman to direct a movie with a budget over $100 million, it was her job to help create new worlds. That included hiring a diverse cast and crew.\u003c/p>\n\u003cp>“I’m proud of what this crew looks like,” DuVernay says. “It looks like the real world. Different kinds of people, colors, creeds, cultures of people. I cast it with what came to my mind, what came to my imagination, what came to my heart.”\u003c/p>\n\u003cp>DuVernay imagined the hero of the story — Meg Murry — as a biracial teen with curly hair and glasses. She leaves her home (filmed in Compton, Calif., DuVernay’s hometown) and travels through time and space looking for her father, a scientist who has mysteriously disappeared.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meg’s father is portrayed by Chris Pine, the blond and blue-eyed actor who played \u003cem>Star Trek\u003c/em>‘s Captain Kirk and \u003cem>Wonder Woman\u003c/em>‘s boyfriend. Meg herself is played by 14-year-old Storm Reid, who made her debut in the Oscar-winning film \u003cem>Twelve Years A Slave\u003c/em>. Here’s how she explains her role:\u003c/p>\n\u003cp>“Meg is a lost teenager, as in trying to find herself,” Reid says. “And she’s just getting in a lot of trouble. She is worried about her dad, and her dad’s been missing for the past four years, and not knowing if her dad really did get lost in the universe or if her dad left her.”\u003c/p>\n\u003cp>In her search, Meg goes on an interplanetary adventure with her precocious little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller). They’re guided by three mysterious celestial beings — Mrs. Whatsit, Mrs. Who, and Mrs. Which — played by Reese Witherspoon, Mindy Kaling and Oprah Winfrey, respectively.\u003c/p>\n\u003cp>It’s Mrs. Which who tells Meg that she’s the only one who can save her father from an evil in the universe. “Be a warrior,” she urges.\u003c/p>\n\u003cfigure id=\"attachment_13826428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg\" alt=\"L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney's 'A Wrinkle In Time.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney’s ‘A Wrinkle In Time.’ \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get to the origin of this film, you have to wrinkle time back to the early 1960s, when Madeleine L’Engle finished a young adult novel inspired by quantum physics. It opens with the familiar line: “It was a dark and stormy night.”\u003c/p>\n\u003cp>She was rejected by dozens of publishers who said the themes were too complicated for kids. But Farrar, Straus and Giroux took a chance, publishing\u003cem> A Wrinkle In Time\u003c/em> in 1962. The following year, the sci-fi book with a female hero won a prestigious Newbery Award for children’s literature.\u003c/p>\n\u003cp>And it caught the imagination of a Los Angeles fifth grader named Catherine Hand. She says she’d been sent to her school library for talking too much in class.\u003c/p>\n\u003cp>“And this librarian comes over to me and says, ‘I have a book I think that you would like,'” Hand says. “‘It’s about a little girl just like you.'”\u003c/p>\n\u003cp>That night, she sat down with the book. The Santa Ana winds were blowing through the open window of her bedroom.\u003c/p>\n\u003cp>“It was a dark and stormy night,” Hand says. “And I read the book. I loved it. And I started a letter to Walt Disney to tell him about this book and have me star as Meg. And I was a little shy in sending him the letter, so I kind of put it to the side.”\u003c/p>\n\u003cp>Walt Disney died a year later.\u003c/p>\n\u003cp>“And I knew of nobody who made movies for children other than Walt Disney,” Hand says. “So I made a promise to myself that I would grow up and make the movie.”\u003c/p>\n\u003cp>Fast forward through time and space to 1979: Catherine Hand is in her 20s and is an executive assistant to writer-producer Norman Lear — creator of hit 1970s TV shows such as \u003cem>All In The Family\u003c/em> and \u003cem>The Jeffersons\u003c/em>. Hand says she convinced him to ask for the movie rights to her favorite book. Then she met up with Madeleine L’Engle at the restaurant on top of the World Trade Center.\u003c/p>\n\u003cp>“I was so nervous,” Hand says. “I mean, to me, she had been the goddess in my life. She had painted the picture of the universe that was so real to me. And we’re sitting at lunch and she leans over and she says, ‘You know, there really is such a thing as a tesseract.’ And I thought: Oh my god! I’m sitting here with Mrs. Whatsit!”\u003c/p>\n\u003cp>L’Engle gave her blessing — and the movie rights — to Lear’s company. But Lear’s first choice as director, Stanley Kubrick, passed on the project.\u003c/p>\n\u003cp>“And I went through many, many different writers, many different screenplays. I worked on it for about 10 years with Norman. And then his option was up. And by that time, I had become extremely close to Madeleine. And so basically she said, ‘Well, OK, you go set it up someplace else, and I won’t sign anything unless you’re the producer.'”\u003c/p>\n\u003cp>Hand went on to become vice president of Embassy Pictures and development director for Francis Ford Coppola’s American Zoetrope production company. She also worked in politics, helping launch the liberal advocacy group People for the American Way. And for decades, she continued to pursue \u003cem>A Wrinkle In Time\u003c/em> as a movie.\u003c/p>\n\u003cp>Finally, in 2003, Hand executive-produced a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1890065\">made-for-TV version\u003c/a> by Miramax and ABC Films. But Hand says she and L’Engle, who died in 2007, felt the final product fell flat.\u003c/p>\n\u003cp>“She was disappointed with that and so was I,” she says. “We had so many constraints. And number one was budget. At the end of the day, you take a look at it and go: Wait a minute, was that my childhood dream? No it’s not. So it took another 14 years to get here.”\u003c/p>\n\u003cp>So 54 years after she first read the book, Hand is now one of the producers for Disney’s new $100 million dollar film.\u003c/p>\n\u003cp>“It’s a very emotional story,” she says. “It’s about growing up. You know, what is good, what is evil, what is family, what is love — amidst a cosmic backdrop of a grand adventure. I used to say it was it was a cross between \u003cem>The Wizard Of Oz\u003c/em> and \u003cem>Star Wars\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13826433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg\" alt=\"'A Wrinkle In Time' follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O'Keefe (Levi Miller) in their adventures through space and time.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wrinkle In Time’ follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller) in their adventures through space and time. \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back on set, director Ava DuVernay says L’Engle had a lot to say about society.\u003c/p>\n\u003cp>“You know, the battle of light and dark, the moral battles that are happening with the characters in the film, certainly figure into what folks might be thinking about right now — politically, culturally, economically,” she says. “It existed for the author at the time that she wrote it … and certainly we haven’t combatted those issues now. So this material still resonates today.”\u003c/p>\n\u003cp>Over the years, some people have objected to the book’s themes. \u003cem>A Wrinkle In Time\u003c/em> remains one of the most frequently banned American books.\u003c/p>\n\u003cp>“That’s why this book is awesome,” DuVernay says. “It was a banned book. That’s my favorite thing about this project. It’s like on the top 10 banned book list, and that just makes me say: Yes! Let’s do it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DuVernay says this is the right moment to tell a story about fighting darkness with light. \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=The+%27Wrinkle+In+Time%27+Movie+Began+As+A+Fifth-Grader%27s+Dream&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Writer Sherman Alexie last week \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\" target=\"_blank\" rel=\"noopener\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. Without providing details, Alexie said “there are women telling the truth,” and apologized to the people he has hurt. Now, some of those women have come forward to speak to NPR about their experiences with him.\u003c/p>\n\u003cp>Alexie may not be a household name, but he is one of the country’s best known Native American poets and writers, with a charismatic personality and a large following. He won the National Book Award in 2007 for his young adult novel \u003cem>The Absolutely True Diary of a Part Time Indian\u003c/em>, and wrote the screenplay for the film \u003cem>Smoke Signals\u003c/em>, based on one of his stories. So the news about him has rocked the worlds of both Native American and children’s literature.\u003c/p>\n\u003cp>In those circles, “well, he’s a rock star,” says children’s book author Anne Ursu. After the Harvey Weinstein sexual harassment story broke, Ursu decided to survey women in the children’s book business to see if they too had experienced such problems — just as many media companies, including NPR, have. \u003ca href=\"https://medium.com/@anneursu_10179/sexual-harassment-in-the-childrens-book-industry-3417048ccde2\" target=\"_blank\" rel=\"noopener\">Ursu’s story, which she published in February on the website Medium\u003c/a>, contributed to the whisper of sexual scandal that was already building around some well-known authors — including Alexie. Ursu says some of the most popular kids’ book writers used the power of their celebrity to seduce women.\u003c/p>\n\u003cp>“If you are an aspiring author and you go to a reading of someone who is famous and beloved and whose work you admire, and he suddenly takes an interest in you and your work, and he thinks you’re special, and you start emailing, and he wants to mentor you — and then suddenly it turns out all he wanted to do is have sex with you. Those writers are left utterly devastated.”\u003c/p>\n\u003cp>The rumors about Alexie were already growing louder when, about a week ago, Seattle-based writer Litsa Dremousis began tweeting about him, calling on women to share their stories. NPR — like other news organizations — reached out to her. She told us she’d had an affair with Alexie, but had remained friends with him until the stories about his sexual behavior surfaced. In his statement, Alexie denounced Dremousis. But before that, NPR began interviewing the women she referred to us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a story about power, and abuse of power,” says Jeanine Walker, one of three women who came forward on the record, and whose stories NPR has corroborated with several sources. In all, ten women spoke to NPR about Alexie — who is a married man. Most of the women wanted to remain anonymous, but a clear pattern emerged: The women reported behavior ranging from inappropriate comments both in private and in public, to flirting that veered suddenly into sexual territory, unwanted sexual advances and consensual sexual relations that ended abruptly. The women said Alexie had traded on his literary celebrity to lure them into uncomfortable sexual situations.\u003c/p>\n\u003cp>“Of course, I was really excited, I mean, Sherman Alexie, he’s interested in my poems,” Walker says. She’s a poet and teacher who was managing a Writers in the Schools program in Seattle when she arranged to have Alexie visit a classroom. Afterwards, Alexie said he had checked out her poetry online, and asked her to send him a manuscript.\u003c/p>\n\u003cp>Alexie never got back to her on the poems, but they did become friendly. Walker says it was strictly platonic. One day, they met to play basketball at a court in his office building. Afterwards, Walker went to change her clothes in a restroom in his office. “When I turned around he was right behind me, and just like physically very much in my space. And leaned towards me and said, ‘Can I kiss you?’ I said no and backed away, and he kept moving forward and was like, laughing and smiling and sweaty and whatever, and he said ‘It’s just, we’re playing basketball, you remind me of the girlfriends I had in high school.’ And I just said ‘Well, we’re not in high school, Sherman.'”\u003c/p>\n\u003cp>Alexie later apologized, and Walker says she stayed in touch with him for a while. She sent him her poems again — but never got anything but a quick comment and a promise of more to come. She says Alexie is a big deal in her hometown of Seattle. “And he’s connected to the organization I work for, and if he had never expressed an interest in my poems I probably wouldn’t have pursued spending any time with him. But he did express an interest. And so then when I discover that interest is actually physical, it just felt very wrong.”\u003c/p>\n\u003cp>Erika Wurth was a 22-year-old aspiring writer when she first met Alexie. As a Native American, he was a hero to her, and she hoped he might become a mentor. About a year after their first meeting, he suggested she come to one of his readings in Colorado. She went, and afterwards walked back to his hotel with him — after chatting in the lobby, she started to leave, “and he jumps over the coffee table and begins trying to kiss me,” she says. “And I went into a state of non-reality. I had almost no sexual experience, I couldn’t believe it. And he’s like, ‘Come to my room.'”\u003c/p>\n\u003cp>Wurth did, and ended up on his bed. “He’s kind of taking my clothes off and kissing me,” she remembers. “And I’m kind of like stock still, trying to convince myself this is OK. It’s not working, and eventually I say, because I am kind of scared of this situation, ‘I’m a virgin.’ But it got really weird, because then he’s still trying to work me over, and I’m just stock still, and I think at that point, in my opinion, he realized that if he wanted to have sex with me he would have to violate me, he’d have to rape me. And he did stop.”\u003c/p>\n\u003cp>Wurth says she stayed in touch with Alexie, hoping he would still be her mentor — or at least apologize. Several years later, they had a second sexual encounter which also ended badly. Eventually, he did give her a positive quote for her first book, and a letter of recommendation — which she now thinks was to keep her quiet. Their relationship became contentious, and after a series of angry emails, Wurth decided to cut ties with him, disillusioned by the way he treated her. “Never admitting what he’d done, never apologizing. And I just was like, I don’t ever want to be around this guy again. He’s poisonous. He’s not OK.” \u003c/p>\n\u003cp>Alexie has enormous influence on the careers of Native American writers, and Wurth worries about what he may say about her to others in the business. So does Elissa Washuta. She met Alexie when she was getting ready to publish her first book, and was hoping that he could help her with it. She went out one night with a group of people that included Alexie. She was chatting with him when “seemingly apropos of nothing, Sherman told me that he could have sex with me if he wanted to,” she says. “But he used a stronger word, beginning with F. You know, he had not said it quietly, he had not whispered it. It seemed that the men we were talking to could have heard it. I couldn’t believe that somebody would say something to me like that. This older man who I didn’t know, who was much more powerful than me.”\u003c/p>\n\u003cp>Washuta says that although she was worried that the other men who were with them — all part of the local literary scene — had heard Alexie, she didn’t have the nerve to say anything about it at the time. “I felt I really needed his approval and I needed his help in order to get this book off the ground. And so as uncomfortable as I was, I felt I could laugh off that comment in a way. But I still felt that he had so much power that I should probably not make a fuss about this.”\u003c/p>\n\u003cp>Eventually, Washuta and Alexie became colleagues at the Institute of American Indian Arts. They got along, but she says that once, on a work trip to Santa Fe, he tried to lure her to his hotel room. Later, they had a disagreement over an essay of hers — Alexie implied she had plagiarized his work, and Washuta became fearful that he would ruin her career. When she got another job, she decided to cut her ties to the Institute because Alexie was a powerful member of the faculty. “I think we did some really good work there. And I’m sure they continue to do really good work there. But I’m not a part of it. And that feels so lonely. I’m incredibly sad about it.”\u003c/p>\n\u003cp>As the allegations against Alexie began to surface, the Institute changed the name of its Sherman Alexie Scholarship to the M.F.A. Alumni Scholarship. Alexie has not responded to our multiple efforts to contact him. It is clear from his statement that he is angry at Litsa Dremousis, whose tweets prompted these women to come forward.\u003c/p>\n\u003cp>But if Alexie is angry, so are the women — which is why they’re willing to talk. Their stories are complicated and messy, as much about the power they felt he had over them as they are about sex. And how to change that power dynamic may be where the conversation has to go from here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Just+Felt+Very+Wrong%3A%27+Sherman+Alexie%27s+Accusers+Go+On+The+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer Sherman Alexie last week \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\" target=\"_blank\" rel=\"noopener\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. Without providing details, Alexie said “there are women telling the truth,” and apologized to the people he has hurt. Now, some of those women have come forward to speak to NPR about their experiences with him.\u003c/p>\n\u003cp>Alexie may not be a household name, but he is one of the country’s best known Native American poets and writers, with a charismatic personality and a large following. He won the National Book Award in 2007 for his young adult novel \u003cem>The Absolutely True Diary of a Part Time Indian\u003c/em>, and wrote the screenplay for the film \u003cem>Smoke Signals\u003c/em>, based on one of his stories. So the news about him has rocked the worlds of both Native American and children’s literature.\u003c/p>\n\u003cp>In those circles, “well, he’s a rock star,” says children’s book author Anne Ursu. After the Harvey Weinstein sexual harassment story broke, Ursu decided to survey women in the children’s book business to see if they too had experienced such problems — just as many media companies, including NPR, have. \u003ca href=\"https://medium.com/@anneursu_10179/sexual-harassment-in-the-childrens-book-industry-3417048ccde2\" target=\"_blank\" rel=\"noopener\">Ursu’s story, which she published in February on the website Medium\u003c/a>, contributed to the whisper of sexual scandal that was already building around some well-known authors — including Alexie. Ursu says some of the most popular kids’ book writers used the power of their celebrity to seduce women.\u003c/p>\n\u003cp>“If you are an aspiring author and you go to a reading of someone who is famous and beloved and whose work you admire, and he suddenly takes an interest in you and your work, and he thinks you’re special, and you start emailing, and he wants to mentor you — and then suddenly it turns out all he wanted to do is have sex with you. Those writers are left utterly devastated.”\u003c/p>\n\u003cp>The rumors about Alexie were already growing louder when, about a week ago, Seattle-based writer Litsa Dremousis began tweeting about him, calling on women to share their stories. NPR — like other news organizations — reached out to her. She told us she’d had an affair with Alexie, but had remained friends with him until the stories about his sexual behavior surfaced. In his statement, Alexie denounced Dremousis. But before that, NPR began interviewing the women she referred to us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a story about power, and abuse of power,” says Jeanine Walker, one of three women who came forward on the record, and whose stories NPR has corroborated with several sources. In all, ten women spoke to NPR about Alexie — who is a married man. Most of the women wanted to remain anonymous, but a clear pattern emerged: The women reported behavior ranging from inappropriate comments both in private and in public, to flirting that veered suddenly into sexual territory, unwanted sexual advances and consensual sexual relations that ended abruptly. The women said Alexie had traded on his literary celebrity to lure them into uncomfortable sexual situations.\u003c/p>\n\u003cp>“Of course, I was really excited, I mean, Sherman Alexie, he’s interested in my poems,” Walker says. She’s a poet and teacher who was managing a Writers in the Schools program in Seattle when she arranged to have Alexie visit a classroom. Afterwards, Alexie said he had checked out her poetry online, and asked her to send him a manuscript.\u003c/p>\n\u003cp>Alexie never got back to her on the poems, but they did become friendly. Walker says it was strictly platonic. One day, they met to play basketball at a court in his office building. Afterwards, Walker went to change her clothes in a restroom in his office. “When I turned around he was right behind me, and just like physically very much in my space. And leaned towards me and said, ‘Can I kiss you?’ I said no and backed away, and he kept moving forward and was like, laughing and smiling and sweaty and whatever, and he said ‘It’s just, we’re playing basketball, you remind me of the girlfriends I had in high school.’ And I just said ‘Well, we’re not in high school, Sherman.'”\u003c/p>\n\u003cp>Alexie later apologized, and Walker says she stayed in touch with him for a while. She sent him her poems again — but never got anything but a quick comment and a promise of more to come. She says Alexie is a big deal in her hometown of Seattle. “And he’s connected to the organization I work for, and if he had never expressed an interest in my poems I probably wouldn’t have pursued spending any time with him. But he did express an interest. And so then when I discover that interest is actually physical, it just felt very wrong.”\u003c/p>\n\u003cp>Erika Wurth was a 22-year-old aspiring writer when she first met Alexie. As a Native American, he was a hero to her, and she hoped he might become a mentor. About a year after their first meeting, he suggested she come to one of his readings in Colorado. She went, and afterwards walked back to his hotel with him — after chatting in the lobby, she started to leave, “and he jumps over the coffee table and begins trying to kiss me,” she says. “And I went into a state of non-reality. I had almost no sexual experience, I couldn’t believe it. And he’s like, ‘Come to my room.'”\u003c/p>\n\u003cp>Wurth did, and ended up on his bed. “He’s kind of taking my clothes off and kissing me,” she remembers. “And I’m kind of like stock still, trying to convince myself this is OK. It’s not working, and eventually I say, because I am kind of scared of this situation, ‘I’m a virgin.’ But it got really weird, because then he’s still trying to work me over, and I’m just stock still, and I think at that point, in my opinion, he realized that if he wanted to have sex with me he would have to violate me, he’d have to rape me. And he did stop.”\u003c/p>\n\u003cp>Wurth says she stayed in touch with Alexie, hoping he would still be her mentor — or at least apologize. Several years later, they had a second sexual encounter which also ended badly. Eventually, he did give her a positive quote for her first book, and a letter of recommendation — which she now thinks was to keep her quiet. Their relationship became contentious, and after a series of angry emails, Wurth decided to cut ties with him, disillusioned by the way he treated her. “Never admitting what he’d done, never apologizing. And I just was like, I don’t ever want to be around this guy again. He’s poisonous. He’s not OK.” \u003c/p>\n\u003cp>Alexie has enormous influence on the careers of Native American writers, and Wurth worries about what he may say about her to others in the business. So does Elissa Washuta. She met Alexie when she was getting ready to publish her first book, and was hoping that he could help her with it. She went out one night with a group of people that included Alexie. She was chatting with him when “seemingly apropos of nothing, Sherman told me that he could have sex with me if he wanted to,” she says. “But he used a stronger word, beginning with F. You know, he had not said it quietly, he had not whispered it. It seemed that the men we were talking to could have heard it. I couldn’t believe that somebody would say something to me like that. This older man who I didn’t know, who was much more powerful than me.”\u003c/p>\n\u003cp>Washuta says that although she was worried that the other men who were with them — all part of the local literary scene — had heard Alexie, she didn’t have the nerve to say anything about it at the time. “I felt I really needed his approval and I needed his help in order to get this book off the ground. And so as uncomfortable as I was, I felt I could laugh off that comment in a way. But I still felt that he had so much power that I should probably not make a fuss about this.”\u003c/p>\n\u003cp>Eventually, Washuta and Alexie became colleagues at the Institute of American Indian Arts. They got along, but she says that once, on a work trip to Santa Fe, he tried to lure her to his hotel room. Later, they had a disagreement over an essay of hers — Alexie implied she had plagiarized his work, and Washuta became fearful that he would ruin her career. When she got another job, she decided to cut her ties to the Institute because Alexie was a powerful member of the faculty. “I think we did some really good work there. And I’m sure they continue to do really good work there. But I’m not a part of it. And that feels so lonely. I’m incredibly sad about it.”\u003c/p>\n\u003cp>As the allegations against Alexie began to surface, the Institute changed the name of its Sherman Alexie Scholarship to the M.F.A. Alumni Scholarship. Alexie has not responded to our multiple efforts to contact him. It is clear from his statement that he is angry at Litsa Dremousis, whose tweets prompted these women to come forward.\u003c/p>\n\u003cp>But if Alexie is angry, so are the women — which is why they’re willing to talk. Their stories are complicated and messy, as much about the power they felt he had over them as they are about sex. And how to change that power dynamic may be where the conversation has to go from here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Russ Solomon, the founder of the enormously influential and widely beloved Tower Records chain, has died at age 92.\u003c/p>\n\u003cp>His son, Michael Solomon, \u003ca href=\"http://www.sacbee.com/latest-news/article203542104.html\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Sacramento Bee\u003c/em>\u003c/a> on Monday that his father died of an apparent heart attack on Sunday evening while watching the Oscar awards ceremony and enjoying a glass of whiskey.\u003c/p>\n\u003cp>Solomon started his record store as an offshoot of his father’s drugstore before building it into a separate retailer. At its peak as a mecca for music lovers, Tower boasted stores and licensees across the U.S., with its signature yellow-and-red signs also blazing in London, Buenos Aires and Tokyo. Music fans and musicians alike made pilgrimages to Tower’s stores. As Bruce Springsteen said in \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=JCPYCIzSw_o\" target=\"_blank\" rel=\"noopener\">All Things Must Pass\u003c/a>\u003c/em>, director Colin Hanks’ 2015 documentary about the chain, “If you came into town, you went to Tower Records.”\u003c/p>\n\u003cp>Its successes spurred the expansion of other music mega-retailers like HMV and Virgin. Each of its stores had a unique retail profile, often tied to its geographical location: the store in Nashville, for example, offered a huge selection of country music, while the Tower next to Lincoln Center in New York City boasted an unparalleled stock of classical titles.\u003c/p>\n\u003cp>But in 2006, Tower declared bankruptcy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chain’s decline was a long time in its making: Solomon and his team didn’t anticipate how fast the revolution from physical products to digital downloads was going to come. File-sharing sites like Napster were proliferating. Big-box stores like Target, Wal-Mart and Best Buy were selling high-volume, popular CDs at sizable discounts. Tower couldn’t afford to match the big-box stores’ sale prices, and Solomon couldn’t persuade the record labels to lower their prices, or to get them to start selling CD singles rather than full albums.\u003c/p>\n\u003cp>In the meantime, Tower racked up debt to the tune of $110 million, in hopes of driving even more international expansion. Eventually, however, the company couldn’t outpace its troubles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even after Tower’s collapse, Russ Solomon still heard the siren song of those album bins. Along with his second wife, Patti Drosins, he opened a storefront called R5 Records in Sacramento in 2008; it lasted for two years before \u003ca href=\"https://sacramentopress.com/2010/05/12/russ-solomons-r5-records-to-close/\">closing\u003c/a>. \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=Tower+Records+Founder+Russ+Solomon+Has+Died+At+Age+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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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"
}
},
"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",
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