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"title": "Weinstein Company Will File for Bankruptcy After Sale Talks Collapse",
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"content": "\u003cp>The Weinstein Company says it will file for bankruptcy after a deal for the sale of the company fell apart.\u003c/p>\n\u003cp>The film and television studio had been in talks with \u003ca href=\"http://variety.com/2018/film/news/maria-contreras-sweet-weinstein-co-acquisition-change-1202687380/\" target=\"_blank\" rel=\"noopener\">a group\u003c/a> led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Obama, and backed by billionaire Ron Burkle. The deal was said to be worth $500 million — “roughly $275 million for the Weinstein Company, plus the assumption of $225 million in debt,” \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/02/26/business/weinstein-bankruptcy-deal.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\" target=\"_blank\" rel=\"noopener\">a letter\u003c/a> from the Weinstein Company to Contreras-Sweet and Burkle, talks broke down in part over the issue of interim funding, which the studio needed to stay operational and paying its employees.\u003c/p>\n\u003cp>“[W]e must conclude that your plan to buy this company was illusory and would only leave this Company hobbling toward its demise to the detriment of all constituents,” the company said \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\" target=\"_blank\" rel=\"noopener\">in a letter\u003c/a>. “Despite your previous statements, it is simply impossible to avoid the conclusion that you have no intention to sign an agreement — much less to close one — and no desire to save valuable assets and jobs.”\u003c/p>\n\u003cp>“While we recognize that this is an extremely unfortunate outcome for our employees, our creditors and any victims, the board has no choice,” the company said in a statement to the \u003cem>Times\u003c/em>. “Over the coming days, the company will prepare its bankruptcy filing with the goal of achieving maximum value in court.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Company and its founding brothers, stating that that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>“Any sale of The Weinstein Company must ensure that victims will be compensated, employees will be protected going forward, and that neither perpetrators nor enablers will be unjustly enriched,” Schneiderman said in a statement announcing the suit.\u003c/p>\n\u003cp>The suit appears to have played a role in scuttling the sale. If there is no sale of the Weinstein Company, it’s not clear how such victim compensation would be funded.\u003c/p>\n\u003cp>Gloria Allred, the attorney representing many of Harvey Weinstein’s alleged victims, “was angry with the timing of the New York Attorney General’s lawsuit precisely because she feared it would kill the deal and lead to bankruptcy … which would hurt the victims’ chances for compensation,” as NPR’s Elizabeth Blair \u003ca href=\"https://www.npr.org/2018/02/26/588776315/weinstein-co-board-says-it-will-file-for-bankruptcy-after-sale-collapses\" target=\"_blank\" rel=\"noopener\">told\u003c/a> \u003cem>Morning Edition\u003c/em>.\u003c/p>\n\u003cp>Another aspect in the deal’s collapse likely was the role of David Glasser, whom the investors wanted to make the new CEO.\u003c/p>\n\u003cp>“Glasser was a top executive under Harvey Weinstein,” Blair explained. “The Attorney General was adamant that no perpetrators or enablers to Weinstein’s misconduct be part of the sale — and he believed Glasser was one of them. The Weinstein Company board then fired Glasser. And Schneiderman met with both sides of the sale and appeared to approve the conditions of the sale.”\u003c/p>\n\u003cp>But the letter from the Weinstein Company makes clear that the contingencies related to Glasser were a problem. An attorney for Glasser has said \u003ca href=\"https://www.hollywoodreporter.com/news/ousted-weinstein-exec-david-glasser-plans-85m-wrongful-termination-lawsuit-1086452\" target=\"_blank\" rel=\"noopener\">he plans to sue\u003c/a> for wrongful termination.\u003c/p>\n\u003cp>The bid from Contreras-Sweet was seen as a way for the company to survive and retain its employees. Other bidders were primarily interested in certain of the company’s assets, especially its library of films, and most of the other bids would have required a sale through Chapter 11 bankruptcy, \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-ct-weinstein-company-bankrtupcy-20180225-story.html\" target=\"_blank\" rel=\"noopener\">according \u003c/a>to the \u003cem>Los Angeles Times\u003c/em>.\u003c/p>\n\u003cp>The fall of the Weinstein Company has been swift in the four-and-a-half months since \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> allegations of sexual misconduct by Weinstein over decades, ranging from harassment to rape. \u003cem>The New Yorker\u003c/em> soon published \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener\">further allegations\u003c/a>. Weinstein was fired from the company three days after the \u003cem>Times \u003c/em>story came out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He has apologized for some of his behavior, but “denies many of the accusations as patently false,” Lisa Bloom, then Weinstein’s lawyer, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/05/555979858/amid-harassment-reports-harvey-weinstein-takes-leave-of-absence\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in October. \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=Weinstein+Company+Will+File+For+Bankruptcy+After+Sale+Talks+Collapse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Weinstein Company says it will file for bankruptcy after a deal for the sale of the company fell apart.\u003c/p>\n\u003cp>The film and television studio had been in talks with \u003ca href=\"http://variety.com/2018/film/news/maria-contreras-sweet-weinstein-co-acquisition-change-1202687380/\" target=\"_blank\" rel=\"noopener\">a group\u003c/a> led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Obama, and backed by billionaire Ron Burkle. The deal was said to be worth $500 million — “roughly $275 million for the Weinstein Company, plus the assumption of $225 million in debt,” \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/02/26/business/weinstein-bankruptcy-deal.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\" target=\"_blank\" rel=\"noopener\">a letter\u003c/a> from the Weinstein Company to Contreras-Sweet and Burkle, talks broke down in part over the issue of interim funding, which the studio needed to stay operational and paying its employees.\u003c/p>\n\u003cp>“[W]e must conclude that your plan to buy this company was illusory and would only leave this Company hobbling toward its demise to the detriment of all constituents,” the company said \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\" target=\"_blank\" rel=\"noopener\">in a letter\u003c/a>. “Despite your previous statements, it is simply impossible to avoid the conclusion that you have no intention to sign an agreement — much less to close one — and no desire to save valuable assets and jobs.”\u003c/p>\n\u003cp>“While we recognize that this is an extremely unfortunate outcome for our employees, our creditors and any victims, the board has no choice,” the company said in a statement to the \u003cem>Times\u003c/em>. “Over the coming days, the company will prepare its bankruptcy filing with the goal of achieving maximum value in court.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Company and its founding brothers, stating that that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>“Any sale of The Weinstein Company must ensure that victims will be compensated, employees will be protected going forward, and that neither perpetrators nor enablers will be unjustly enriched,” Schneiderman said in a statement announcing the suit.\u003c/p>\n\u003cp>The suit appears to have played a role in scuttling the sale. If there is no sale of the Weinstein Company, it’s not clear how such victim compensation would be funded.\u003c/p>\n\u003cp>Gloria Allred, the attorney representing many of Harvey Weinstein’s alleged victims, “was angry with the timing of the New York Attorney General’s lawsuit precisely because she feared it would kill the deal and lead to bankruptcy … which would hurt the victims’ chances for compensation,” as NPR’s Elizabeth Blair \u003ca href=\"https://www.npr.org/2018/02/26/588776315/weinstein-co-board-says-it-will-file-for-bankruptcy-after-sale-collapses\" target=\"_blank\" rel=\"noopener\">told\u003c/a> \u003cem>Morning Edition\u003c/em>.\u003c/p>\n\u003cp>Another aspect in the deal’s collapse likely was the role of David Glasser, whom the investors wanted to make the new CEO.\u003c/p>\n\u003cp>“Glasser was a top executive under Harvey Weinstein,” Blair explained. “The Attorney General was adamant that no perpetrators or enablers to Weinstein’s misconduct be part of the sale — and he believed Glasser was one of them. The Weinstein Company board then fired Glasser. And Schneiderman met with both sides of the sale and appeared to approve the conditions of the sale.”\u003c/p>\n\u003cp>But the letter from the Weinstein Company makes clear that the contingencies related to Glasser were a problem. An attorney for Glasser has said \u003ca href=\"https://www.hollywoodreporter.com/news/ousted-weinstein-exec-david-glasser-plans-85m-wrongful-termination-lawsuit-1086452\" target=\"_blank\" rel=\"noopener\">he plans to sue\u003c/a> for wrongful termination.\u003c/p>\n\u003cp>The bid from Contreras-Sweet was seen as a way for the company to survive and retain its employees. Other bidders were primarily interested in certain of the company’s assets, especially its library of films, and most of the other bids would have required a sale through Chapter 11 bankruptcy, \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-ct-weinstein-company-bankrtupcy-20180225-story.html\" target=\"_blank\" rel=\"noopener\">according \u003c/a>to the \u003cem>Los Angeles Times\u003c/em>.\u003c/p>\n\u003cp>The fall of the Weinstein Company has been swift in the four-and-a-half months since \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> allegations of sexual misconduct by Weinstein over decades, ranging from harassment to rape. \u003cem>The New Yorker\u003c/em> soon published \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener\">further allegations\u003c/a>. Weinstein was fired from the company three days after the \u003cem>Times \u003c/em>story came out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He has apologized for some of his behavior, but “denies many of the accusations as patently false,” Lisa Bloom, then Weinstein’s lawyer, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/05/555979858/amid-harassment-reports-harvey-weinstein-takes-leave-of-absence\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in October. \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=Weinstein+Company+Will+File+For+Bankruptcy+After+Sale+Talks+Collapse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It's a Beautiful 50th Birthday for 'Mister Rogers' Neighborhood'",
"headTitle": "It’s a Beautiful 50th Birthday for ‘Mister Rogers’ Neighborhood’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/1178498/1178499\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Fifty years ago Monday,\u003cstrong> \u003c/strong>when Fred Rogers showed up on national public television as the host of what then was a brand new children’s show called \u003cem>Mister Rogers’ Neighborhood,\u003c/em> TV was a lot different. PBS wasn’t even a network then — not by that name, anyway — and aside from CBS, NBC and ABC, there were only a few independent local channels to watch, if that.\u003c/p>\n\u003cp>But 50 years ago, young kids were pretty much the same. I interviewed Fred Rogers a few times over the years, and one time I asked him about the secret of his success — why his slow, deliberate manner of relating to children, and why seeming to look at them and talk to them directly through the TV lens, connected so strongly with young viewers. This is what he told me:\u003c/p>\n\u003cblockquote>\n\u003cp>Every one of us longs to be in touch with honesty. … I think we’re really attracted to people who will share some of their real self with us.\u003c/p>\n\u003c/blockquote>\n\u003cp>Rogers shared his real self with us from that very first day of \u003cem>Mister Rogers’ Neighborhood,\u003c/em> on Feb. 19, 1968, when he went national on public TV, removed his jacket and dress shoes, slipped on a sweater and sneakers and talked gently about tying shoelaces.\u003c/p>\n\u003cp>\u003cem>Mister Rogers’ Neighborhood\u003c/em> was all about encouragement and support. It loved to educate kids a little, inspire them a lot and, when necessary, calm them down a bit about what may be unspoken fears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That first week of \u003cem>Mister Rogers\u003c/em> was about change — even in the Neighborhood of Make Believe, where a puppet ruler named King Friday XIII was upset that his subjects were moving their homes around his kingdom. In this week-long story, King Friday becomes so upset that he orders a big wall to be built around the castle to keep everyone out. But eventually, the ruler decides he had nothing to fear and takes down the wall.\u003c/p>\n\u003cp>That was a reassuring story then, and Fred Rogers had hundreds of others. He could calm little kids by telling them they were too big to slip down the bathtub drain, but he also tackled more serious subjects.\u003c/p>\n\u003cp>In the summer of 1968, he took to prime time and had one of his most beloved hand puppet characters, Daniel Striped Tiger, asking for a definition of the word “assassination.” Robert F. Kennedy had just been shot and killed — and Rogers thought even very little children would pick up on how upset the grown-ups around them were, and deserved to be talked to and reassured a little.\u003c/p>\n\u003cp>And at a time when, once again, politicians are talking about defunding public television, it should be noted that Rogers went to Washington to testify before Congress in 1969 about why public TV was so important to young viewers — and to beg for $20 million in public funding.\u003c/p>\n\u003cp>Rogers appeared before gruff committee chair Sen. John Pastore. He described his show, sang a song and recited some poetry — and when he finished, the senator told him he’d earned the $20 million.\u003c/p>\n\u003cp>Fifty years later, the work and legacy of Fred Rogers has not been forgotten. The Fred Rogers Center, where I currently serve on the advisory board, aims to seek out and support new approaches to education and entertainment in the Rogers spirit.\u003c/p>\n\u003cp>The TV company that bears his name continues to produce programs, including the animated\u003cem> Daniel Tiger’s Neighborhood\u003c/em>. You can still get boxed DVD sets of some of the \u003cem>Mister Rogers\u003c/em> shows and specials, which ran on PBS until 2001, two years before his death.\u003c/p>\n\u003cp>And in this golden anniversary year of \u003cem>Mister Rogers’ Neighborhood\u003c/em>, there are many other plans afoot. Monday in his hometown, Latrobe, Pa., St. Vincent College is scheduled to host a screening of the very first \u003cem>Neighborhood\u003c/em> episode. The PBS KIDS network plans to pair other vintage episodes of \u003cem>Mister Rogers’ Neighborhood\u003c/em> with their cartoon \u003cem>Daniel Tig\u003c/em>er equivalents. PBS will also present a retrospective special salute in March, and a new documentary, Morgan Neville’s \u003cem>Won’t You Be My Neighbor?\u003c/em>, is scheduled to be released in theaters nationwide in June.\u003c/p>\n\u003cp>There’s a new biography due in September, the U.S. Postal Service is \u003ca href=\"https://www.npr.org/2018/02/07/583970831/mister-rogers-will-appear-forever-on-a-stamp\">issuing a Fred Rogers stamp\u003c/a> and it’s just been announced that \u003ca href=\"http://variety.com/2018/film/news/tom-hanks-mr-rogers-you-are-my-friend-tristar-1202676746/\">there’s a movie in the works\u003c/a>, with Tom Hanks set to play Rogers. That’s kind of perfect: One of the most-loved children’s hosts in TV history played by one of the most-loved actors in movie history.\u003c/p>\n\u003cp>It’s a lot of fuss, especially for a man who didn’t like to draw attention to himself. But Rogers deserves it. And today, our children’s children still deserve — and need — Fred Rogers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click the audio link above to hear Terry Gross’ 1984 interview with Rogers. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+A+Beautiful+50th+Birthday+For+%27Mister+Rogers%27+Neighborhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/1178498/1178499\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Fifty years ago Monday,\u003cstrong> \u003c/strong>when Fred Rogers showed up on national public television as the host of what then was a brand new children’s show called \u003cem>Mister Rogers’ Neighborhood,\u003c/em> TV was a lot different. PBS wasn’t even a network then — not by that name, anyway — and aside from CBS, NBC and ABC, there were only a few independent local channels to watch, if that.\u003c/p>\n\u003cp>But 50 years ago, young kids were pretty much the same. I interviewed Fred Rogers a few times over the years, and one time I asked him about the secret of his success — why his slow, deliberate manner of relating to children, and why seeming to look at them and talk to them directly through the TV lens, connected so strongly with young viewers. This is what he told me:\u003c/p>\n\u003cblockquote>\n\u003cp>Every one of us longs to be in touch with honesty. … I think we’re really attracted to people who will share some of their real self with us.\u003c/p>\n\u003c/blockquote>\n\u003cp>Rogers shared his real self with us from that very first day of \u003cem>Mister Rogers’ Neighborhood,\u003c/em> on Feb. 19, 1968, when he went national on public TV, removed his jacket and dress shoes, slipped on a sweater and sneakers and talked gently about tying shoelaces.\u003c/p>\n\u003cp>\u003cem>Mister Rogers’ Neighborhood\u003c/em> was all about encouragement and support. It loved to educate kids a little, inspire them a lot and, when necessary, calm them down a bit about what may be unspoken fears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That first week of \u003cem>Mister Rogers\u003c/em> was about change — even in the Neighborhood of Make Believe, where a puppet ruler named King Friday XIII was upset that his subjects were moving their homes around his kingdom. In this week-long story, King Friday becomes so upset that he orders a big wall to be built around the castle to keep everyone out. But eventually, the ruler decides he had nothing to fear and takes down the wall.\u003c/p>\n\u003cp>That was a reassuring story then, and Fred Rogers had hundreds of others. He could calm little kids by telling them they were too big to slip down the bathtub drain, but he also tackled more serious subjects.\u003c/p>\n\u003cp>In the summer of 1968, he took to prime time and had one of his most beloved hand puppet characters, Daniel Striped Tiger, asking for a definition of the word “assassination.” Robert F. Kennedy had just been shot and killed — and Rogers thought even very little children would pick up on how upset the grown-ups around them were, and deserved to be talked to and reassured a little.\u003c/p>\n\u003cp>And at a time when, once again, politicians are talking about defunding public television, it should be noted that Rogers went to Washington to testify before Congress in 1969 about why public TV was so important to young viewers — and to beg for $20 million in public funding.\u003c/p>\n\u003cp>Rogers appeared before gruff committee chair Sen. John Pastore. He described his show, sang a song and recited some poetry — and when he finished, the senator told him he’d earned the $20 million.\u003c/p>\n\u003cp>Fifty years later, the work and legacy of Fred Rogers has not been forgotten. The Fred Rogers Center, where I currently serve on the advisory board, aims to seek out and support new approaches to education and entertainment in the Rogers spirit.\u003c/p>\n\u003cp>The TV company that bears his name continues to produce programs, including the animated\u003cem> Daniel Tiger’s Neighborhood\u003c/em>. You can still get boxed DVD sets of some of the \u003cem>Mister Rogers\u003c/em> shows and specials, which ran on PBS until 2001, two years before his death.\u003c/p>\n\u003cp>And in this golden anniversary year of \u003cem>Mister Rogers’ Neighborhood\u003c/em>, there are many other plans afoot. Monday in his hometown, Latrobe, Pa., St. Vincent College is scheduled to host a screening of the very first \u003cem>Neighborhood\u003c/em> episode. The PBS KIDS network plans to pair other vintage episodes of \u003cem>Mister Rogers’ Neighborhood\u003c/em> with their cartoon \u003cem>Daniel Tig\u003c/em>er equivalents. PBS will also present a retrospective special salute in March, and a new documentary, Morgan Neville’s \u003cem>Won’t You Be My Neighbor?\u003c/em>, is scheduled to be released in theaters nationwide in June.\u003c/p>\n\u003cp>There’s a new biography due in September, the U.S. Postal Service is \u003ca href=\"https://www.npr.org/2018/02/07/583970831/mister-rogers-will-appear-forever-on-a-stamp\">issuing a Fred Rogers stamp\u003c/a> and it’s just been announced that \u003ca href=\"http://variety.com/2018/film/news/tom-hanks-mr-rogers-you-are-my-friend-tristar-1202676746/\">there’s a movie in the works\u003c/a>, with Tom Hanks set to play Rogers. That’s kind of perfect: One of the most-loved children’s hosts in TV history played by one of the most-loved actors in movie history.\u003c/p>\n\u003cp>It’s a lot of fuss, especially for a man who didn’t like to draw attention to himself. But Rogers deserves it. And today, our children’s children still deserve — and need — Fred Rogers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click the audio link above to hear Terry Gross’ 1984 interview with Rogers. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+A+Beautiful+50th+Birthday+For+%27Mister+Rogers%27+Neighborhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Black Panther\u003c/em> pounced on the weekend box office, breaking cultural barriers and earning the highest debut ever for a February film, with an estimated three-day domestic gross of $192 million, said Disney, Marvel’s parent company.\u003c/p>\n\u003cp>The opening was the fifth highest-earning of any film, according to Disney. The only other movies that have brought in more are \u003cem>Star Wars: The Force Awakens, Star Wars: The Last Jedi, Jurassic World\u003c/em> and \u003cem>The Avengers, \u003c/em>according to The Associated Press.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>‘s massive marketing campaign didn’t hurt — \u003ca href=\"https://www.nytimes.com/2018/02/18/movies/black-panther-box-office-records.html\">The New York Times reports \u003c/a>Disney spent nine months promoting it — but it also had the advantage of a built-in fan base. Stan Lee and Jack Kirby introduced the story to Marvel Comics’ readers back in the 1960s.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> stars Chadwick Boseman as T’Challa and Lupita Nyong’o as Nakia and is directed by Ryan Coogler. At age 31, Coogler helped make history. The \u003cem>Times\u003c/em> reports \u003cem>Black Panther\u003c/em> is the highest-grossing film ever by a black director.\u003c/p>\n\u003cp>The film has received stellar reviews from critics and audiences alike, with a \u003ca href=\"https://www.rottentomatoes.com/m/black_panther_2018\">97 percent rating on Rotten Tomatoes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It tells the story of T’Challa, \u003ca href=\"http://marvel.com/comics/discover/460/black-panther\">described by Marvel\u003c/a> as “righteous king, noble Avenger,” who rules the fictional and technologically-rich African nation of Wakanda and finds his leadership put to the test.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/02/15/585702642/director-ryan-coogler-says-black-panther-brought-him-closer-to-his-roots\">Coogler told Morning Edition’s David Greene\u003c/a> that in this day and age, the medium of superhero films is myth-making. “That’s why these movies make a lot money,” he said. “That’s why people talk about them, you know what I mean, people dress up as them.”\u003c/p>\n\u003cp>Disney approved a $200 million production budget for \u003cem>Black Panther\u003c/em>, reports \u003cem>the Times, \u003c/em>a figure the film has already brought in and more, with an estimated $361 million raked in globally in its opening weekend.\u003c/p>\n\u003cp>Filmgoers the world-over also conveyed their enthusiasm by dressing the part, in Wakanda-inspired outfits.\u003c/p>\n\u003cp>For some, excitement over a film about a black super hero, alongside a largely black cast, directed by a black man, surpassed that of a typical blockbuster.\u003c/p>\n\u003cp>“Hollywood is lifting us up,” \u003ca href=\"https://www.cnn.com/2018/02/15/opinions/black-panther-donald-trump-van-jones/index.html\">writes CNN’s Van Jones\u003c/a>. “This film is a godsend that will lift the self-esteem of black children in the US and around the world for a long time.”\u003c/p>\n\u003cp>Seventh grader Jaheim Hedge saw the film and \u003ca href=\"https://www.nytimes.com/2018/02/18/movies/black-panther-challenge-students.html?smid=tw-nytimesarts&smtyp=cur\">told the Times\u003c/a>, “For people of color, it shows us that we that we can get through any obstacles that are thrown at us if we work together. We can also help the world by sharing our resources.”\u003c/p>\n\u003cp>The #BlackPantherChallenge, which began as a fundraiser to send children from Harlem, N.Y., to see the film, has spun into a wider campaign. \u003ca href=\"https://www.gofundme.com/cause/black-panther-challenge\">GoFundMe says it has raised\u003c/a> close to a half a million dollars so far to fund other kids who want to see the movie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s a massive audience — not just of people of color but everybody — who wants to see different perspectives in this myth-making,” Coogler told NPR. “They want to see something fresh, they want to see something new, but also feels very real.”\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=%27Black+Panther%27+Breaks+Records+And+Barriers+In+Debut+Weekend+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Black Panther\u003c/em> pounced on the weekend box office, breaking cultural barriers and earning the highest debut ever for a February film, with an estimated three-day domestic gross of $192 million, said Disney, Marvel’s parent company.\u003c/p>\n\u003cp>The opening was the fifth highest-earning of any film, according to Disney. The only other movies that have brought in more are \u003cem>Star Wars: The Force Awakens, Star Wars: The Last Jedi, Jurassic World\u003c/em> and \u003cem>The Avengers, \u003c/em>according to The Associated Press.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>‘s massive marketing campaign didn’t hurt — \u003ca href=\"https://www.nytimes.com/2018/02/18/movies/black-panther-box-office-records.html\">The New York Times reports \u003c/a>Disney spent nine months promoting it — but it also had the advantage of a built-in fan base. Stan Lee and Jack Kirby introduced the story to Marvel Comics’ readers back in the 1960s.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> stars Chadwick Boseman as T’Challa and Lupita Nyong’o as Nakia and is directed by Ryan Coogler. At age 31, Coogler helped make history. The \u003cem>Times\u003c/em> reports \u003cem>Black Panther\u003c/em> is the highest-grossing film ever by a black director.\u003c/p>\n\u003cp>The film has received stellar reviews from critics and audiences alike, with a \u003ca href=\"https://www.rottentomatoes.com/m/black_panther_2018\">97 percent rating on Rotten Tomatoes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It tells the story of T’Challa, \u003ca href=\"http://marvel.com/comics/discover/460/black-panther\">described by Marvel\u003c/a> as “righteous king, noble Avenger,” who rules the fictional and technologically-rich African nation of Wakanda and finds his leadership put to the test.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/02/15/585702642/director-ryan-coogler-says-black-panther-brought-him-closer-to-his-roots\">Coogler told Morning Edition’s David Greene\u003c/a> that in this day and age, the medium of superhero films is myth-making. “That’s why these movies make a lot money,” he said. “That’s why people talk about them, you know what I mean, people dress up as them.”\u003c/p>\n\u003cp>Disney approved a $200 million production budget for \u003cem>Black Panther\u003c/em>, reports \u003cem>the Times, \u003c/em>a figure the film has already brought in and more, with an estimated $361 million raked in globally in its opening weekend.\u003c/p>\n\u003cp>Filmgoers the world-over also conveyed their enthusiasm by dressing the part, in Wakanda-inspired outfits.\u003c/p>\n\u003cp>For some, excitement over a film about a black super hero, alongside a largely black cast, directed by a black man, surpassed that of a typical blockbuster.\u003c/p>\n\u003cp>“Hollywood is lifting us up,” \u003ca href=\"https://www.cnn.com/2018/02/15/opinions/black-panther-donald-trump-van-jones/index.html\">writes CNN’s Van Jones\u003c/a>. “This film is a godsend that will lift the self-esteem of black children in the US and around the world for a long time.”\u003c/p>\n\u003cp>Seventh grader Jaheim Hedge saw the film and \u003ca href=\"https://www.nytimes.com/2018/02/18/movies/black-panther-challenge-students.html?smid=tw-nytimesarts&smtyp=cur\">told the Times\u003c/a>, “For people of color, it shows us that we that we can get through any obstacles that are thrown at us if we work together. We can also help the world by sharing our resources.”\u003c/p>\n\u003cp>The #BlackPantherChallenge, which began as a fundraiser to send children from Harlem, N.Y., to see the film, has spun into a wider campaign. \u003ca href=\"https://www.gofundme.com/cause/black-panther-challenge\">GoFundMe says it has raised\u003c/a> close to a half a million dollars so far to fund other kids who want to see the movie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s a massive audience — not just of people of color but everybody — who wants to see different perspectives in this myth-making,” Coogler told NPR. “They want to see something fresh, they want to see something new, but also feels very real.”\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=%27Black+Panther%27+Breaks+Records+And+Barriers+In+Debut+Weekend+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Town in Mexico Sees Guitar Sales Soar Thanks to the Movie 'Coco'",
"headTitle": "A Town in Mexico Sees Guitar Sales Soar Thanks to the Movie ‘Coco’ | KQED",
"content": "\u003cp>Fresh off its Golden Globe award for best animation, the Disney-Pixar movie \u003cem>Coco\u003c/em> is a favorite to win an Oscar next month.\u003c/p>\n\u003cp>It’s a sweet story of a small boy, Miguel, who dreams of becoming a musician despite his parents’ objections. On the way, he finds family, tradition and a magnificent white guitar, encrusted with pearl details and a black skull.\u003c/p>\n\u003cp>Real-life sales of guitars like Miguel’s guitar have soared thanks to the movie. And not just in U.S. stores. A small town in Mexico’s western highlands, famous for its generation of guitar makers, is also enjoying a \u003cem>Coco\u003c/em> boon.\u003c/p>\n\u003cp>Paracho, in the state of Michoacán, is the former home of the very guitar maker who helped design the instrument seen in the film.\u003c/p>\n\u003cfigure id=\"attachment_13824893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg\" alt=\"The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in Coco was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in \u003cem>Coco\u003c/em> was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now living in Los Angeles, 65-year-old German Vazquez worked with Pixar on Miguel’s guitar. Although, he left Paracho back in the 1970s, this small town hasn’t forgotten him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em> is a hit in the United States, and has raked in \u003ca href=\"http://www.boxofficemojo.com/news/?id=4348&p=.htm\">more than $700 million\u003c/a> in box offices worldwide. But particularly in Mexico, it became the highest-grossing movie of all time. The town of Paracho is gaining some fame along with it.\u003c/p>\n\u003cp>“It’s impressive, everyone’s gone \u003cem>loco\u003c/em> for \u003cem>Coco,\u003c/em>” says souvenir shopkeeper Claudia Rodríguez de Velásquez. “We have a long list of back orders,” she says, running her fingers over a dozen Post-it notes attached to a wall by the cash register.\u003c/p>\n\u003cp>Ever since \u003cem>Coco\u003c/em> debuted late last year, she can’t keep the famous white guitars on her shelves.\u003c/p>\n\u003cfigure id=\"attachment_13824894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg\" alt='Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to <em>Coco</em>. \"We are all <em>loco</em> for <em>Coco</em>,\" one shopkeeper says.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13824894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to \u003cem>Coco\u003c/em>. “We are all \u003cem>loco\u003c/em> for \u003cem>Coco\u003c/em>,” one shopkeeper says. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her family’s guitar factory down the road is churning out 1,500 instruments a week, she says. Before \u003cem>Coco\u003c/em>, Rodríguez says 90 percent of their exported guitars were tan colored, with just a few painted white. Now it’s totally the opposite: white \u003cem>Coco\u003c/em>-like guitars dominate the orders.\u003c/p>\n\u003cp>There’s been a run on other kinds of instruments made in Paracho too.\u003c/p>\n\u003cp>César Ivan Lemus sits in his dusty workshop above his house, shaving flat the wooden neck of a large guitarrón favored by mariachi bands. He says he’s filling orders as fast as he can, selling mainly to mariachi schools and stores in Texas and California.\u003c/p>\n\u003cfigure id=\"attachment_13824895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg\" alt=\"César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a <em>guitarrón</em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a \u003cem>guitarrón\u003c/em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are so proud that Pixar turned to a Mexican artisan to design \u003cem>Coco\u003c/em>‘s guitar,” he says. “And not just any Mexican — a former Paracho resident,” he adds beaming.\u003c/p>\n\u003cp>This weekend Paracho is paying homage to Vazquez and the movie. Residents decorated several streets to look like the village in \u003cem>Coco\u003c/em> — set in a fictional part of Mexico — and they covered a large bronze guitar statue at the town’s entrance all in white.\u003c/p>\n\u003cp>Jesús Ocampo, who works for the local government, says it’s time one of Paracho’s gifted guitar makers got some overdue credit.\u003c/p>\n\u003cfigure id=\"attachment_13824896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg\" alt=\"Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie <em>Coco</em>.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie \u003cem>Coco\u003c/em>. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of people here in Paracho who have made guitars for very famous musicians around the world but they are practically anonymous,” he says.\u003c/p>\n\u003cp>He claims that other brands attempt to sell Paracho guitars packaged with their own labels, without recognition.\u003c/p>\n\u003cp>Ocampo says there are no official statistics, but Paracho’s guitar makers are estimated to export as many as a million guitars a year. The town has been in the guitar making business for centuries.\u003c/p>\n\u003cfigure id=\"attachment_13824891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg\" alt=\"Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnulfo Rubio Orozco, a master artisan who says he’s a third cousin of the \u003cem>Coco \u003c/em>guitar maker in California, comes from a line of guitar makers going back to his great grandfather. He tightens the strings on an instrument he’s been working on for a month. With pearl details and wood from southern Mexico, it will fetch about $2,000.\u003c/p>\n\u003cp>“My dad didn’t want me to make guitars,” says Rubio. Instead he was sent to work winters in a Christmas tree farm in North Carolina. “I had to sneak around, ducking into other guitar makers’ workshops to learn,” he says.\u003c/p>\n\u003cp>That’s almost like Miguel in the movie. He hid his dream of being a musician from his family.\u003c/p>\n\u003cp>“I guess the story repeats itself again,” Rubio chuckles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Rubio hasn’t actually seen \u003cem>Coco\u003c/em>. Paracho is a small town, it doesn’t have a movie theater. \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+Town+In+Mexico+Sees+Guitar+Sales+Soar+Thanks+To+The+Movie+%27Coco%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off its Golden Globe award for best animation, the Disney-Pixar movie \u003cem>Coco\u003c/em> is a favorite to win an Oscar next month.\u003c/p>\n\u003cp>It’s a sweet story of a small boy, Miguel, who dreams of becoming a musician despite his parents’ objections. On the way, he finds family, tradition and a magnificent white guitar, encrusted with pearl details and a black skull.\u003c/p>\n\u003cp>Real-life sales of guitars like Miguel’s guitar have soared thanks to the movie. And not just in U.S. stores. A small town in Mexico’s western highlands, famous for its generation of guitar makers, is also enjoying a \u003cem>Coco\u003c/em> boon.\u003c/p>\n\u003cp>Paracho, in the state of Michoacán, is the former home of the very guitar maker who helped design the instrument seen in the film.\u003c/p>\n\u003cfigure id=\"attachment_13824893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg\" alt=\"The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in Coco was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in \u003cem>Coco\u003c/em> was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now living in Los Angeles, 65-year-old German Vazquez worked with Pixar on Miguel’s guitar. Although, he left Paracho back in the 1970s, this small town hasn’t forgotten him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em> is a hit in the United States, and has raked in \u003ca href=\"http://www.boxofficemojo.com/news/?id=4348&p=.htm\">more than $700 million\u003c/a> in box offices worldwide. But particularly in Mexico, it became the highest-grossing movie of all time. The town of Paracho is gaining some fame along with it.\u003c/p>\n\u003cp>“It’s impressive, everyone’s gone \u003cem>loco\u003c/em> for \u003cem>Coco,\u003c/em>” says souvenir shopkeeper Claudia Rodríguez de Velásquez. “We have a long list of back orders,” she says, running her fingers over a dozen Post-it notes attached to a wall by the cash register.\u003c/p>\n\u003cp>Ever since \u003cem>Coco\u003c/em> debuted late last year, she can’t keep the famous white guitars on her shelves.\u003c/p>\n\u003cfigure id=\"attachment_13824894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg\" alt='Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to <em>Coco</em>. \"We are all <em>loco</em> for <em>Coco</em>,\" one shopkeeper says.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13824894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to \u003cem>Coco\u003c/em>. “We are all \u003cem>loco\u003c/em> for \u003cem>Coco\u003c/em>,” one shopkeeper says. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her family’s guitar factory down the road is churning out 1,500 instruments a week, she says. Before \u003cem>Coco\u003c/em>, Rodríguez says 90 percent of their exported guitars were tan colored, with just a few painted white. Now it’s totally the opposite: white \u003cem>Coco\u003c/em>-like guitars dominate the orders.\u003c/p>\n\u003cp>There’s been a run on other kinds of instruments made in Paracho too.\u003c/p>\n\u003cp>César Ivan Lemus sits in his dusty workshop above his house, shaving flat the wooden neck of a large guitarrón favored by mariachi bands. He says he’s filling orders as fast as he can, selling mainly to mariachi schools and stores in Texas and California.\u003c/p>\n\u003cfigure id=\"attachment_13824895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg\" alt=\"César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a <em>guitarrón</em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a \u003cem>guitarrón\u003c/em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are so proud that Pixar turned to a Mexican artisan to design \u003cem>Coco\u003c/em>‘s guitar,” he says. “And not just any Mexican — a former Paracho resident,” he adds beaming.\u003c/p>\n\u003cp>This weekend Paracho is paying homage to Vazquez and the movie. Residents decorated several streets to look like the village in \u003cem>Coco\u003c/em> — set in a fictional part of Mexico — and they covered a large bronze guitar statue at the town’s entrance all in white.\u003c/p>\n\u003cp>Jesús Ocampo, who works for the local government, says it’s time one of Paracho’s gifted guitar makers got some overdue credit.\u003c/p>\n\u003cfigure id=\"attachment_13824896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg\" alt=\"Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie <em>Coco</em>.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie \u003cem>Coco\u003c/em>. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of people here in Paracho who have made guitars for very famous musicians around the world but they are practically anonymous,” he says.\u003c/p>\n\u003cp>He claims that other brands attempt to sell Paracho guitars packaged with their own labels, without recognition.\u003c/p>\n\u003cp>Ocampo says there are no official statistics, but Paracho’s guitar makers are estimated to export as many as a million guitars a year. The town has been in the guitar making business for centuries.\u003c/p>\n\u003cfigure id=\"attachment_13824891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg\" alt=\"Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnulfo Rubio Orozco, a master artisan who says he’s a third cousin of the \u003cem>Coco \u003c/em>guitar maker in California, comes from a line of guitar makers going back to his great grandfather. He tightens the strings on an instrument he’s been working on for a month. With pearl details and wood from southern Mexico, it will fetch about $2,000.\u003c/p>\n\u003cp>“My dad didn’t want me to make guitars,” says Rubio. Instead he was sent to work winters in a Christmas tree farm in North Carolina. “I had to sneak around, ducking into other guitar makers’ workshops to learn,” he says.\u003c/p>\n\u003cp>That’s almost like Miguel in the movie. He hid his dream of being a musician from his family.\u003c/p>\n\u003cp>“I guess the story repeats itself again,” Rubio chuckles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Rubio hasn’t actually seen \u003cem>Coco\u003c/em>. Paracho is a small town, it doesn’t have a movie theater. \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+Town+In+Mexico+Sees+Guitar+Sales+Soar+Thanks+To+The+Movie+%27Coco%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Who in the pop world but Janelle Monae could pack dystopian Afro-Futurism, sleek runway style, action sequences, club hotness and tender love into thirty seconds?\u003c/p>\n\u003cp>Today, a teaser-trailer for Monae’s new album and “emotion picture,” \u003cem>Dirty Computer\u003c/em>, was released to the web and select theaters, to air before screenings of – what else? – \u003cem>Black Panther\u003c/em>. That Monae isn’t actually \u003cem>in \u003c/em>Ryan Coogler’s revolutionary Marvel flick is mildly confusing, since she’s been crafting her own version of superheroine-ism since bursting onto the scene more than ten years ago. Of course, she’s been busy crafting her own multiverse; no need to attach to a corporate comics franchise. \u003cem>Dirty Computer \u003c/em>indicates Monae following her vision in intriguing new directions.\u003c/p>\n\u003cp>https://youtu.be/A9k89DYdHKQ\u003c/p>\n\u003cp>All Monae offers in the tantalizing bite above is thirty seconds of images, a fuzzy smear of guitar feedback, a quick monologue and some finger snaps. Yet somehow, through only that, she builds a world. It opens with a \u003cem>Westworld\u003c/em>-style shot of Monae on a floating table, in what’s probably an examination room. Cut to a montage of scenes inside a nightspot not unlike the Matrix’s \u003ca href=\"https://www.youtube.com/watch?v=ZifL6aMjOnE\">Club Hel\u003c/a>, where Monae exchanges moves and glances with male and female partners, including her apparent costar, Tessa Thompson. Before you can blink, Thompson is abducted by mask-wearing thugs in military riot gear. Then there are scenes on a beach that have the flavor of \u003cem>A Wrinkle In Time\u003c/em>, including one of Monae and Thompson engaging in a tender embrace. Monae (we think) intones: “They drained us of our dirt, and all the things that made us special. And then you were lost. Sleeping. And you didn’t remember anything at all.” Monae lays prone on the exam table; someone caresses the tattoo on her arm, an apparent amalgam of the primordial goddess and the \u003ca href=\"https://metrouk2.files.wordpress.com/2013/09/pm_338485.jpg?w=748&h=492&crop=1\">Wicker Man\u003c/a>.\u003c/p>\n\u003cp>Dystopia, baby! The trailer also features some \u003cem>True Detective-\u003c/em>style masks and several high-fashion shots that won’t disappoint acolytes of Monae’s sartorial genius, including a final shot of her in a spooky costume that seems to invent a Black Queen for a new version of \u003cem>Alice Through the Looking Glass\u003c/em>. (Or, snap, in \u003ca href=\"https://www.google.com/search?q=janelle+monae+alice+in+wonderland&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiXvPPjkqjZAhVL0YMKHQVaCMMQ_AUICigB&biw=1211&bih=706\">Wondaland\u003c/a>.) Are we reading into this thing much? Well, why not? The ongoing saga of Cindi Mayweather, the android alter-ego that Monae has developed in previous recordings and visuals, starting with \u003cem>Metropolis Suite 1 (The Chase) \u003c/em>in 2007, has taken her from nascent Fritz Lang fantasies to the beginnings of a whole new language: \u003ca href=\"https://www.youtube.com/watch?v=tEddixS-UoU\">“Q.U.E.E.N.,”\u003c/a> the song and video from her last album, 2013’s \u003cem>Electric Lady\u003c/em>, coined a new term for today’s oppressed: “Queer, Untouchables, Emigrants, Excommunicated and Negroid.” \u003cem>Dirty Computer\u003c/em> will likely place that community within the context of a cyber-nightmare – dressed, of course, in dazzling \u003ca href=\"https://tomandlorenzo.com/2017/06/2017-cfda-fashion-awards-janelle-monae-in-christian-siriano/\">Christian Soriano\u003c/a> couture. We know nothing of the music yet, nor of the lyrical content of the album that is part of this project. However, the warm glances between Thompson and Monae in the trailer suggest there will be some love scenes. And no one will be shocked if the \u003ca href=\"https://www.youtube.com/watch?v=pwnefUaKCbc\">dance sequences\u003c/a> are on point.\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=Janelle+Mon%C3%A1e+Teases+Dystopic%2C+Afro-Futurist+Emotion+Picture+%27Dirty+Computer%27&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>Jeffrey Tambor, Emmy-winning star of \u003cem>Transparent\u003c/em>, will not be returning to the cast for the show’s upcoming fifth season. Amazon Studios confirmed the actor’s departure to NPR on Thursday.\u003c/p>\n\u003cp>The announcement comes several months after multiple claims of sexual misconduct surfaced against Tambor, who played trans woman Maura Pfefferman in the Amazon Studio series. As NPR’s Emma Bowman \u003ca href=\"https://www.npr.org/565254200\" target=\"_blank\" rel=\"noopener\">reported in November\u003c/a>, Tambor had been accused of groping his former assistant, transgender actress Van Barnes, and making inappropriate sexual advances on transgender co-star Trace Lysette.\u003c/p>\n\u003cp>“I have great respect and admiration for Van Barnes and Trace Lysette, whose courage in speaking out about their experience on \u003cem>Transparent \u003c/em>is an example of the leadership this moment in our culture requires,” show creator and co-writer Jill Soloway said in a statement to NPR.\u003c/p>\n\u003cp>“We are grateful to the many trans people who have supported our vision for \u003cem>Transparent \u003c/em>since its inception,” Soloway continued, “and remain heartbroken about the pain and mistrust their experience has generated in our community. We are taking definitive action to ensure our workplace respects the safety and dignity of every individual, and are taking steps to heal as a family.”\u003c/p>\n\u003cp>Tambor has apologized for any inadvertent misbehavior but has denied the allegations against him, which he called “simply and utterly untrue.” And even in November, he signaled in a statement that his time with the show may be ending: “Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While some of us were shelling out cash for flowers and chocolates, \u003ca href=\"https://www.npr.org/artists/137108917/frank-ocean\" target=\"_blank\" rel=\"noopener\">Frank Ocean\u003c/a> gifted his listeners with new music in honor of Valentine’s Day. The illusive R&B star released a cover of “Moon River” in the wee hours on his YouTube and Tumblr accounts. The 1961 original, by Henry Mancini with lyrics by Johnny Mercer, was written for Audrey Hepburn to sing in the cult classic \u003cem>Breakfast at Tiffany’s\u003c/em> and has been covered over the years by Jerry Butler, Aretha Franklin, Frank Sinatra and more.\u003c/p>\n\u003cp>For his version, Ocean starts by distorting his voice to resemble an innocent child (a similar tactic he frequently employed on his last album \u003cem>Blonde\u003c/em>) and croons over an achingly slow and beautiful bass line, providing his own supporting vocals and harmonies throughout. It’s far from the first time Ocean has put his own synthy spin on a pop classic; check out his covers of Stevie Wonder’s “\u003ca href=\"https://www.youtube.com/watch?v=Meij0gCWQb8\" target=\"_blank\" rel=\"noopener\">Close To You\u003c/a>” and The Isley Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=1kIOXNP5Ig0\" target=\"_blank\" rel=\"noopener\">At Your Best (You Are Love)\u003c/a>” for more nostalgia.\u003c/p>\n\u003cp>With a steady stream of releases in 2017 and now this new cover surfacing, it’s apparent the 30-year-old has every intention of making good on his promise that fans will “\u003ca href=\"http://frankocean.tumblr.com/post/169250081706/new-18-99\" target=\"_blank\" rel=\"noopener\">love 2018\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=Frank+Ocean+Gifts+Fans+With+%27Moon+River%27+Cover+On+Valentine%27s+Night&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>While some of us were shelling out cash for flowers and chocolates, \u003ca href=\"https://www.npr.org/artists/137108917/frank-ocean\" target=\"_blank\" rel=\"noopener\">Frank Ocean\u003c/a> gifted his listeners with new music in honor of Valentine’s Day. The illusive R&B star released a cover of “Moon River” in the wee hours on his YouTube and Tumblr accounts. The 1961 original, by Henry Mancini with lyrics by Johnny Mercer, was written for Audrey Hepburn to sing in the cult classic \u003cem>Breakfast at Tiffany’s\u003c/em> and has been covered over the years by Jerry Butler, Aretha Franklin, Frank Sinatra and more.\u003c/p>\n\u003cp>For his version, Ocean starts by distorting his voice to resemble an innocent child (a similar tactic he frequently employed on his last album \u003cem>Blonde\u003c/em>) and croons over an achingly slow and beautiful bass line, providing his own supporting vocals and harmonies throughout. It’s far from the first time Ocean has put his own synthy spin on a pop classic; check out his covers of Stevie Wonder’s “\u003ca href=\"https://www.youtube.com/watch?v=Meij0gCWQb8\" target=\"_blank\" rel=\"noopener\">Close To You\u003c/a>” and The Isley Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=1kIOXNP5Ig0\" target=\"_blank\" rel=\"noopener\">At Your Best (You Are Love)\u003c/a>” for more nostalgia.\u003c/p>\n\u003cp>With a steady stream of releases in 2017 and now this new cover surfacing, it’s apparent the 30-year-old has every intention of making good on his promise that fans will “\u003ca href=\"http://frankocean.tumblr.com/post/169250081706/new-18-99\" target=\"_blank\" rel=\"noopener\">love 2018\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=Frank+Ocean+Gifts+Fans+With+%27Moon+River%27+Cover+On+Valentine%27s+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Brand new portraits of former president Barack Obama and former first lady Michelle Obama — wearing matching calm, strong expressions — were revealed on Monday at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>Kehinde Wiley painted Barack Obama sitting in a chair, elbows in his knees, leaning forward with an intense expression. The background, typical of a Wiley painting, is a riotous pattern of intense greens.\u003c/p>\n\u003cp>“Pretty sharp,” Obama said with a grin.\u003c/p>\n\u003cp>Amy Sherald, a Baltimore-based artist, painted Michelle Obama sitting in a floor-length gown, chin on her hand, looking directly at the viewer with a calm, level gaze.\u003c/p>\n\u003cp>The paintings, like the presidency they honor, are a historic first. Wiley and Sherald — both already famous for their portraits of black Americans — are the first black painters to receive a presidential portrait commission from the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrities from Shonda Rimes to Steven Spielberg, former administration officials from Josh Earnest to Eric Holder, and members of the media filed into the Portrait Gallery’s expansive, glass-covered central courtyard for the ceremony. Kim Sajet, the director of the gallery, told the audience that a portrait was not truly finished until a viewer, a member of the public, had a personal encounter with it.\u003c/p>\n\u003cp>Then came the unveiling — quite literally, as fabric covers were pulled off the portraits on a small stage.\u003c/p>\n\u003cfigure id=\"attachment_13824232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg\" alt=\"Former U.S. President Barack Obama looks at former first lady Michelle Obama's newly unveiled portrait during a ceremony at the Smithsonian's National Portrait Gallery.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13824232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1920x1481.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1180x910.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-520x401.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former U.S. President Barack Obama looks at former first lady Michelle Obama’s newly unveiled portrait during a ceremony at the Smithsonian’s National Portrait Gallery. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings exemplify the two artists’ trademark styles.\u003c/p>\n\u003cp>“Wiley typically portrays people of color posing as famous figures in Western art,” the Portrait Gallery writes. “Through this practice, he challenges the visual rhetoric of power that is dominated by elite white men.”\u003c/p>\n\u003cp>Sherald, “known for her stylized, archetypal portrayals of African Americans,” survived a heart transplant in 2012, the museum notes. “A personification of resilience herself, Sherald conveys the inner strength of her subjects through a combination of calm expressions and confrontational poses,” the gallery writes.\u003c/p>\n\u003cp>“I am a little overwhelmed, to say the least,” Michelle Obama said in a speech, after helping Sherald reveal her work. “As you may have guessed, I don’t think there is anybody in my family who has ever had a portrait done, let alone a portrait that will be hanging in the National Gallery — at least as far as I know, Mom,” she said. “But all those folks who helped me be here today, they are with us physically and they are with us in spirit.”\u003c/p>\n\u003cp>“I’m also thinking of all the young people, particularly girls and girls of color, who … will see an image of someone who looks like them hanging on the wall of this great American institution,” she said. “I know the kind of impact that will have on their lives, because I was one of those girls.”\u003c/p>\n\u003cp>It was a point Sherald echoed minutes later, when she emphasized that her portrait of Obama was conceptual and archetypal, bigger than just one model.\u003c/p>\n\u003cp>“You exist in our minds and our hearts in the way that we do because we can see ourselves in you,” she said, turning toward Michelle Obama.\u003c/p>\n\u003cp>Barack Obama, for his part, said he admired how Wiley’s photos “challenge our conventional views of power and privilege.”\u003c/p>\n\u003cp>But he said he rejected Wiley’s ideas that involved him, for instance, riding a horse.\u003c/p>\n\u003cp>“‘I’ve got enough political problems without you making me look like Napoleon,'” he remembered telling Wiley. “‘You’ve got to bring it down a touch.’ And that’s what he did.”\u003c/p>\n\u003cp>“How do you explain that a lot of that is just simply not true?” Wiley said, when he took to the lectern. Then he got more serious.\u003c/p>\n\u003cfigure id=\"attachment_13824230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg\" alt=\"Former President Barack Obama stands with his and former first lady Michelle Obama's newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery in Washington, D.C.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13824230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama stands with his and former first lady Michelle Obama’s newly unveiled portraits during a ceremony at the Smithsonian’s National Portrait Gallery in Washington, D.C. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming,” Wiley said. “It doesn’t get any better than that. I was humbled by this invitation but I was also inspired by Barack Obama’s personal story.”\u003c/p>\n\u003cp>The National Portrait Gallery, a member of the Smithsonian Institution, has worked with outgoing presidents to commission a new portrait of each one since 1962.\u003c/p>\n\u003cp>More recently it began collecting portraits of first ladies as well. The Portrait Gallery, a member of the Smithsonian Institution, \u003ca href=\"http://npg.si.edu/blog/people-presidential-portraits-national-portrait-gallery\" target->writes\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Official portraits are interesting beasts because they are, of course official: they signify the status and attainments of the person portrayed. But they also are deeply personal, even revelatory, portrayals that say something of the character of the man or woman who shows their face to the public. The style of the portrait – the pose, the colors, the setting, as well as facial features (in the 19th century stern and forbidding was definitely the default expression) – all convey a measure of the sitter.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The official National Portrait Gallery \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/george-w-bushs-portrait-at-national-portrait-gallery-34317269/\" target->paintings\u003c/a> of George and Laura Bush both featured relatively casual, relaxed poses, with small smiles.\u003c/p>\n\u003cp>The gallery’s portrait of Bill Clinton, by Nelson Shanks, was controversial after Shanks \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/03/the-subtle-satire-of-a-bill-clinton-portrait/386558/\">said\u003c/a> he’d hidden a reference to the Monica Lewinsky scandal in the canvas. A different portrait of Clinton, a Chuck Close \u003ca href=\"http://npg.si.edu/blog/now-on-view-bill-clinton-chuck-close\">painting\u003c/a> of the former president’s grin, is on display in the museum.\u003c/p>\n\u003cp>The new paintings of the Obamas will be on view to the public beginning Tuesday.\u003c/p>\n\u003cp>Wiley’s painting of former President Obama will be permanently installed in the “America’s Presidents” exhibit (The Portrait Gallery has the “only complete collection of presidential portraits outside the White House,” the museum said in a statement.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sherald’s painting of Michelle Obama will be on display through November in the museum’s “Recent Acquisitions” section. \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=Paintings+Of+Barack+And+Michelle+Obama+Unveiled+At+Portrait+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brand new portraits of former president Barack Obama and former first lady Michelle Obama — wearing matching calm, strong expressions — were revealed on Monday at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>Kehinde Wiley painted Barack Obama sitting in a chair, elbows in his knees, leaning forward with an intense expression. The background, typical of a Wiley painting, is a riotous pattern of intense greens.\u003c/p>\n\u003cp>“Pretty sharp,” Obama said with a grin.\u003c/p>\n\u003cp>Amy Sherald, a Baltimore-based artist, painted Michelle Obama sitting in a floor-length gown, chin on her hand, looking directly at the viewer with a calm, level gaze.\u003c/p>\n\u003cp>The paintings, like the presidency they honor, are a historic first. Wiley and Sherald — both already famous for their portraits of black Americans — are the first black painters to receive a presidential portrait commission from the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrities from Shonda Rimes to Steven Spielberg, former administration officials from Josh Earnest to Eric Holder, and members of the media filed into the Portrait Gallery’s expansive, glass-covered central courtyard for the ceremony. Kim Sajet, the director of the gallery, told the audience that a portrait was not truly finished until a viewer, a member of the public, had a personal encounter with it.\u003c/p>\n\u003cp>Then came the unveiling — quite literally, as fabric covers were pulled off the portraits on a small stage.\u003c/p>\n\u003cfigure id=\"attachment_13824232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg\" alt=\"Former U.S. President Barack Obama looks at former first lady Michelle Obama's newly unveiled portrait during a ceremony at the Smithsonian's National Portrait Gallery.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13824232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1920x1481.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1180x910.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-520x401.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former U.S. President Barack Obama looks at former first lady Michelle Obama’s newly unveiled portrait during a ceremony at the Smithsonian’s National Portrait Gallery. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings exemplify the two artists’ trademark styles.\u003c/p>\n\u003cp>“Wiley typically portrays people of color posing as famous figures in Western art,” the Portrait Gallery writes. “Through this practice, he challenges the visual rhetoric of power that is dominated by elite white men.”\u003c/p>\n\u003cp>Sherald, “known for her stylized, archetypal portrayals of African Americans,” survived a heart transplant in 2012, the museum notes. “A personification of resilience herself, Sherald conveys the inner strength of her subjects through a combination of calm expressions and confrontational poses,” the gallery writes.\u003c/p>\n\u003cp>“I am a little overwhelmed, to say the least,” Michelle Obama said in a speech, after helping Sherald reveal her work. “As you may have guessed, I don’t think there is anybody in my family who has ever had a portrait done, let alone a portrait that will be hanging in the National Gallery — at least as far as I know, Mom,” she said. “But all those folks who helped me be here today, they are with us physically and they are with us in spirit.”\u003c/p>\n\u003cp>“I’m also thinking of all the young people, particularly girls and girls of color, who … will see an image of someone who looks like them hanging on the wall of this great American institution,” she said. “I know the kind of impact that will have on their lives, because I was one of those girls.”\u003c/p>\n\u003cp>It was a point Sherald echoed minutes later, when she emphasized that her portrait of Obama was conceptual and archetypal, bigger than just one model.\u003c/p>\n\u003cp>“You exist in our minds and our hearts in the way that we do because we can see ourselves in you,” she said, turning toward Michelle Obama.\u003c/p>\n\u003cp>Barack Obama, for his part, said he admired how Wiley’s photos “challenge our conventional views of power and privilege.”\u003c/p>\n\u003cp>But he said he rejected Wiley’s ideas that involved him, for instance, riding a horse.\u003c/p>\n\u003cp>“‘I’ve got enough political problems without you making me look like Napoleon,'” he remembered telling Wiley. “‘You’ve got to bring it down a touch.’ And that’s what he did.”\u003c/p>\n\u003cp>“How do you explain that a lot of that is just simply not true?” Wiley said, when he took to the lectern. Then he got more serious.\u003c/p>\n\u003cfigure id=\"attachment_13824230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg\" alt=\"Former President Barack Obama stands with his and former first lady Michelle Obama's newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery in Washington, D.C.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13824230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama stands with his and former first lady Michelle Obama’s newly unveiled portraits during a ceremony at the Smithsonian’s National Portrait Gallery in Washington, D.C. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming,” Wiley said. “It doesn’t get any better than that. I was humbled by this invitation but I was also inspired by Barack Obama’s personal story.”\u003c/p>\n\u003cp>The National Portrait Gallery, a member of the Smithsonian Institution, has worked with outgoing presidents to commission a new portrait of each one since 1962.\u003c/p>\n\u003cp>More recently it began collecting portraits of first ladies as well. The Portrait Gallery, a member of the Smithsonian Institution, \u003ca href=\"http://npg.si.edu/blog/people-presidential-portraits-national-portrait-gallery\" target->writes\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Official portraits are interesting beasts because they are, of course official: they signify the status and attainments of the person portrayed. But they also are deeply personal, even revelatory, portrayals that say something of the character of the man or woman who shows their face to the public. The style of the portrait – the pose, the colors, the setting, as well as facial features (in the 19th century stern and forbidding was definitely the default expression) – all convey a measure of the sitter.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The official National Portrait Gallery \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/george-w-bushs-portrait-at-national-portrait-gallery-34317269/\" target->paintings\u003c/a> of George and Laura Bush both featured relatively casual, relaxed poses, with small smiles.\u003c/p>\n\u003cp>The gallery’s portrait of Bill Clinton, by Nelson Shanks, was controversial after Shanks \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/03/the-subtle-satire-of-a-bill-clinton-portrait/386558/\">said\u003c/a> he’d hidden a reference to the Monica Lewinsky scandal in the canvas. A different portrait of Clinton, a Chuck Close \u003ca href=\"http://npg.si.edu/blog/now-on-view-bill-clinton-chuck-close\">painting\u003c/a> of the former president’s grin, is on display in the museum.\u003c/p>\n\u003cp>The new paintings of the Obamas will be on view to the public beginning Tuesday.\u003c/p>\n\u003cp>Wiley’s painting of former President Obama will be permanently installed in the “America’s Presidents” exhibit (The Portrait Gallery has the “only complete collection of presidential portraits outside the White House,” the museum said in a statement.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sherald’s painting of Michelle Obama will be on display through November in the museum’s “Recent Acquisitions” section. \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=Paintings+Of+Barack+And+Michelle+Obama+Unveiled+At+Portrait+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jill Messick, Producer Embroiled in Weinstein Scandal, Dies by Suicide",
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"content": "\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \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=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \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=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fifty Shades Freed' is Out of Tricks as it Ties Up Loose Ends",
"headTitle": "‘Fifty Shades Freed’ is Out of Tricks as it Ties Up Loose Ends | KQED",
"content": "\u003cp>“Less plot, more ladders.”\u003c/p>\n\u003cp>That’s a philosophy espoused by a college friend of mine with a fondness for Jackie Chan movies. Chan is known for incredibly inventive action sequences in which he fights using whatever is handy — including, in \u003cem>First Strike\u003c/em>, a ladder. But what my friend does not want from Jackie Chan movies is a lot of time unwinding a boring, byzantine plot. \u003cem>Less plot\u003c/em>, he would demand. \u003cem>More ladders. \u003c/em>\u003c/p>\n\u003cp>And this, for a couple of reasons, is what I found myself thinking about at a screening of \u003cem>Fifty Shades Freed\u003c/em>. Directed by James Foley from the E.L. James books, it’s the third and final (?) installment in the story of creepy weird billionaire Christian Grey (Jamie Dornan) and Anastasia Steele (really!) (Dakota Johnson), the woman he met when she was a nervous virgin and taught to enjoy light spanking and private jets. The wealth he has accumulated from his business, which appears to be professional suit-wearing, allows them to travel, hire a large and obsequious staff, and maintain a big sex room. (It’s only meant to be a sex room, so when I watched Ana lie down on the couch in the sex room just for a nap, I almost screamed, “Don’t lie down on that!”)\u003c/p>\n\u003cp>https://youtu.be/nJCc5HRPxYA\u003c/p>\n\u003cp>\u003cem>Fifty Shades Freed \u003c/em>— and before it, middle installment \u003cem>Fifty Shades Darker\u003c/em> — have increasingly relied on more plot and fewer ladders. Here, by “plot” I mean “plot,” and by “ladders” I mean “allegedly adventurous sex that rarely constitutes anything you wouldn’t find at an all-inclusive resort’s Spice Up Your Life workshop for recent divorcees.” The first film, \u003cem>Fifty Shades Of Grey\u003c/em>, is all about the development of a (not realistic!) dominant/submissive sexual relationship, and while it’s awful, it’s not without its legitimately interesting moments. How often, after all, do you see a long sequence that’s intended to be sexy in which consent is carefully negotiated, act by act? At least there are lots of ladders in that one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the trilogy progresses, and as Christian and Ana settle into married life, you can’t just keep showing them having fights with the same ladders, if you see my point. Not only that, but these are R-rated movies, and to keep your R-rating, there are limitations on the number of ladders, the height of the ladders, and whether you can show them vertically or only horizontally. Metaphorically speaking. Therefore, there’s only so much you can do with the ladders. That leaves you … with plot.\u003c/p>\n\u003cp>The plot of \u003cem>Fifty Shades Freed\u003c/em>, such as it is — and never has “such as it is” been meant with such a deliberate arch of the eyebrow — relies upon both Christian’s terrible childhood and Ana’s promotion to fiction editor of an independent book publisher that Christian purchased while she was employed there as a jerk’s personal assistant. The jerk — named Jack (Eric Johnson) — then became a menace. Surprisingly enough, Jack’s motive for hating Christian and Ana is \u003cem>not\u003c/em> that Ana became a fiction editor at a publisher and her major contributions, as seen in this film, are finding an author named “Boyce Fox” (could’ve sworn my accountant worked at Boyce Fox) and increasing a font size by two points.\u003c/p>\n\u003cp>[Side note: If this is the \u003cem>Fifty Shades\u003c/em> theory of what fiction editors are for, \u003cem>much\u003c/em> is explained.]\u003c/p>\n\u003cp>In this third film, Jack is menacing all over the place, so Christian is his usual “overprotective” self, which for him means ordering Ana around, limiting her movements, surveilling her, yelling at her, and — in perhaps the moment that will provoke the most anger from actual practitioners of the sexual habits Christian and Ana enjoy — using his power in their sexual relationship to punish her for perceived slights elsewhere in their personal life. (Pretty sure that’s a no-no.) But Christian remains the romantic hero at all times. So the film feels a little bit like \u003cem>Sleeping With The Enemy\u003c/em> if Julia Roberts eventually decided that her controlling husband was a pretty good guy who just had a hard life and wanted what was best for her.\u003c/p>\n\u003cp>It’s easy to write off \u003cem>Fifty Shades Freed\u003c/em> with the same sneer the books have been subjected to since they appeared, which is to treat it as an inherently hilarious effort to appeal to the prurient interests of square, easily scandalized middle-aged women. (Appealing to the prurient interests of square, easily scandalized middle-aged men is called “premium cable.” Ha ha! Just kidding, it’s also a \u003cem>lot\u003c/em> of basic cable.) There’s nothing wrong with erotic literature — or film — for women. There’s nothing wrong or surprising about fantasy material for moms or aunts or whatever you want to call it. It just would be nice if it were … better.\u003c/p>\n\u003cp>The thing a lot of romance readers know is that this model, in which a virgin meets a worldly, wealthy man who educates her in the ways of her own body, in which she is \u003cem>shocked\u003c/em> to find that she enjoys sex, including non-procreative sex, is not new. \u003cem>Fifty Shades\u003c/em> is just every story of a roguish duke and a pink-cheeked innocent, translated into a world of hedge-fund managers. It has all the weird traps of that trope, in which sex is treated as the natural territory of men, to which women need introduction. (There’s much more about this in a book called \u003ci>\u003ca href=\"https://www.goodreads.com/book/show/5660117-beyond-heaving-bosoms\">Beyond Heaving Bosoms\u003c/a>\u003c/i> that I commend to you.) And those novels, just like novels in genres like science fiction and mystery, share common elements but vary in quality, depending on how well they’re written. Films are the same way.\u003c/p>\n\u003cp>What’s wrong with this movie, and the other movies, and these books, is not that they’re shameful or that there’s something wrong with or something silly about explicit content. It’s just that they’re not good. They’re not inventively sexy — in fact, the desultory handcuffery early in \u003cem>Fifty Shades Freed\u003c/em> feels kind of half-hearted, like the umpteenth time you heard an Olsen twin say “You got it, dude!” on \u003cem>Full House\u003c/em>. They tell dumb, half-baked stories about boring people who are lethargically acted. They don’t know how to make Christian seem like a human being, so they settle for having him sing and play “Maybe I’m Amazed” on the piano. (The singing is new; if you’ve seen the other movies, you know he likes to have sex and then play the piano with no shirt on.)\u003c/p>\n\u003cp>Don’t skip these movies because of what they are. Skip them because they’re bad at \u003cem>being\u003c/em> what they are, and when you don’t have plot \u003cem>or\u003c/em> ladders? You’re no match for Jackie Chan.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Less plot, more ladders.”\u003c/p>\n\u003cp>That’s a philosophy espoused by a college friend of mine with a fondness for Jackie Chan movies. Chan is known for incredibly inventive action sequences in which he fights using whatever is handy — including, in \u003cem>First Strike\u003c/em>, a ladder. But what my friend does not want from Jackie Chan movies is a lot of time unwinding a boring, byzantine plot. \u003cem>Less plot\u003c/em>, he would demand. \u003cem>More ladders. \u003c/em>\u003c/p>\n\u003cp>And this, for a couple of reasons, is what I found myself thinking about at a screening of \u003cem>Fifty Shades Freed\u003c/em>. Directed by James Foley from the E.L. James books, it’s the third and final (?) installment in the story of creepy weird billionaire Christian Grey (Jamie Dornan) and Anastasia Steele (really!) (Dakota Johnson), the woman he met when she was a nervous virgin and taught to enjoy light spanking and private jets. The wealth he has accumulated from his business, which appears to be professional suit-wearing, allows them to travel, hire a large and obsequious staff, and maintain a big sex room. (It’s only meant to be a sex room, so when I watched Ana lie down on the couch in the sex room just for a nap, I almost screamed, “Don’t lie down on that!”)\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/nJCc5HRPxYA'\n title='//www.youtube.com/embed/nJCc5HRPxYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fifty Shades Freed \u003c/em>— and before it, middle installment \u003cem>Fifty Shades Darker\u003c/em> — have increasingly relied on more plot and fewer ladders. Here, by “plot” I mean “plot,” and by “ladders” I mean “allegedly adventurous sex that rarely constitutes anything you wouldn’t find at an all-inclusive resort’s Spice Up Your Life workshop for recent divorcees.” The first film, \u003cem>Fifty Shades Of Grey\u003c/em>, is all about the development of a (not realistic!) dominant/submissive sexual relationship, and while it’s awful, it’s not without its legitimately interesting moments. How often, after all, do you see a long sequence that’s intended to be sexy in which consent is carefully negotiated, act by act? At least there are lots of ladders in that one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the trilogy progresses, and as Christian and Ana settle into married life, you can’t just keep showing them having fights with the same ladders, if you see my point. Not only that, but these are R-rated movies, and to keep your R-rating, there are limitations on the number of ladders, the height of the ladders, and whether you can show them vertically or only horizontally. Metaphorically speaking. Therefore, there’s only so much you can do with the ladders. That leaves you … with plot.\u003c/p>\n\u003cp>The plot of \u003cem>Fifty Shades Freed\u003c/em>, such as it is — and never has “such as it is” been meant with such a deliberate arch of the eyebrow — relies upon both Christian’s terrible childhood and Ana’s promotion to fiction editor of an independent book publisher that Christian purchased while she was employed there as a jerk’s personal assistant. The jerk — named Jack (Eric Johnson) — then became a menace. Surprisingly enough, Jack’s motive for hating Christian and Ana is \u003cem>not\u003c/em> that Ana became a fiction editor at a publisher and her major contributions, as seen in this film, are finding an author named “Boyce Fox” (could’ve sworn my accountant worked at Boyce Fox) and increasing a font size by two points.\u003c/p>\n\u003cp>[Side note: If this is the \u003cem>Fifty Shades\u003c/em> theory of what fiction editors are for, \u003cem>much\u003c/em> is explained.]\u003c/p>\n\u003cp>In this third film, Jack is menacing all over the place, so Christian is his usual “overprotective” self, which for him means ordering Ana around, limiting her movements, surveilling her, yelling at her, and — in perhaps the moment that will provoke the most anger from actual practitioners of the sexual habits Christian and Ana enjoy — using his power in their sexual relationship to punish her for perceived slights elsewhere in their personal life. (Pretty sure that’s a no-no.) But Christian remains the romantic hero at all times. So the film feels a little bit like \u003cem>Sleeping With The Enemy\u003c/em> if Julia Roberts eventually decided that her controlling husband was a pretty good guy who just had a hard life and wanted what was best for her.\u003c/p>\n\u003cp>It’s easy to write off \u003cem>Fifty Shades Freed\u003c/em> with the same sneer the books have been subjected to since they appeared, which is to treat it as an inherently hilarious effort to appeal to the prurient interests of square, easily scandalized middle-aged women. (Appealing to the prurient interests of square, easily scandalized middle-aged men is called “premium cable.” Ha ha! Just kidding, it’s also a \u003cem>lot\u003c/em> of basic cable.) There’s nothing wrong with erotic literature — or film — for women. There’s nothing wrong or surprising about fantasy material for moms or aunts or whatever you want to call it. It just would be nice if it were … better.\u003c/p>\n\u003cp>The thing a lot of romance readers know is that this model, in which a virgin meets a worldly, wealthy man who educates her in the ways of her own body, in which she is \u003cem>shocked\u003c/em> to find that she enjoys sex, including non-procreative sex, is not new. \u003cem>Fifty Shades\u003c/em> is just every story of a roguish duke and a pink-cheeked innocent, translated into a world of hedge-fund managers. It has all the weird traps of that trope, in which sex is treated as the natural territory of men, to which women need introduction. (There’s much more about this in a book called \u003ci>\u003ca href=\"https://www.goodreads.com/book/show/5660117-beyond-heaving-bosoms\">Beyond Heaving Bosoms\u003c/a>\u003c/i> that I commend to you.) And those novels, just like novels in genres like science fiction and mystery, share common elements but vary in quality, depending on how well they’re written. Films are the same way.\u003c/p>\n\u003cp>What’s wrong with this movie, and the other movies, and these books, is not that they’re shameful or that there’s something wrong with or something silly about explicit content. It’s just that they’re not good. They’re not inventively sexy — in fact, the desultory handcuffery early in \u003cem>Fifty Shades Freed\u003c/em> feels kind of half-hearted, like the umpteenth time you heard an Olsen twin say “You got it, dude!” on \u003cem>Full House\u003c/em>. They tell dumb, half-baked stories about boring people who are lethargically acted. They don’t know how to make Christian seem like a human being, so they settle for having him sing and play “Maybe I’m Amazed” on the piano. (The singing is new; if you’ve seen the other movies, you know he likes to have sex and then play the piano with no shirt on.)\u003c/p>\n\u003cp>Don’t skip these movies because of what they are. Skip them because they’re bad at \u003cem>being\u003c/em> what they are, and when you don’t have plot \u003cem>or\u003c/em> ladders? You’re no match for Jackie Chan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "John Prine to Release His First Album of New Songs in 13 Years",
"headTitle": "John Prine to Release His First Album of New Songs in 13 Years | KQED",
"content": "\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9XLaIFTmJF8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except something has happened, and it’s only in the aftermath that the stuff of a life that has built up over time takes on meaning. “Come on home,” Prine repeats in the chorus. “You don’t have to be alone.” His voice and guitar are warm and heavy in the front of the mix, and strings, drums and Carlile’s backing vocals sneak into the song before you quite notice they’re there. It’s easy to read “Summer’s End” as a plea from one estranged lover to another, but other relationships fit the puzzle too: siblings, parents, close friends. If you miss your dog, this song will probably choke you up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Prine played this song at the Tiny Desk in November (stay tuned), I missed some of the details for the sheer joy of just having the man in front of me, singing songs that feel familiar and new at the same time. That joy is real — he’ll be on a long tour starting in April with a string of Nashville up-and-comers — but it’s also a treat to have new songs to linger on. \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=John+Prine+To+Release+His+First+Album+Of+New+Songs+In+13+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\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/9XLaIFTmJF8'\n title='//www.youtube.com/embed/9XLaIFTmJF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except something has happened, and it’s only in the aftermath that the stuff of a life that has built up over time takes on meaning. “Come on home,” Prine repeats in the chorus. “You don’t have to be alone.” His voice and guitar are warm and heavy in the front of the mix, and strings, drums and Carlile’s backing vocals sneak into the song before you quite notice they’re there. It’s easy to read “Summer’s End” as a plea from one estranged lover to another, but other relationships fit the puzzle too: siblings, parents, close friends. If you miss your dog, this song will probably choke you up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Prine played this song at the Tiny Desk in November (stay tuned), I missed some of the details for the sheer joy of just having the man in front of me, singing songs that feel familiar and new at the same time. That joy is real — he’ll be on a long tour starting in April with a string of Nashville up-and-comers — but it’s also a treat to have new songs to linger on. \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=John+Prine+To+Release+His+First+Album+Of+New+Songs+In+13+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\n\u003cp>https://twitter.com/BKCHarvard/status/961373106047774721\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \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=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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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.",
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"meta": {
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"id": "fresh-air",
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"hidden-brain": {
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"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"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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