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"content": "\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \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=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \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=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Oscar Elders: 3 Octogenarians Make Academy Award History",
"headTitle": "The Oscar Elders: 3 Octogenarians Make Academy Award History | KQED",
"content": "\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I Can't Believe I Am the First,' Says Oscar-Nominated Female Cinematographer",
"headTitle": "‘I Can’t Believe I Am the First,’ Says Oscar-Nominated Female Cinematographer | KQED",
"content": "\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" 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/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \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=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "You may know her from such films as 'Black Panther', where she was director of photography. Now, Rachel Morrison is the first woman ever nominated for an Academy Award in cinematography, for her work on 'Mudbound', ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" 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/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \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=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies",
"headTitle": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies | KQED",
"content": "\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \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=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \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=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The global \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/18/586935542/black-panther-breaks-records-and-barriers-in-debut-weekend\" target=\"_blank\" rel=\"noopener\">box office success\u003c/a> of \u003cem>Black Panther\u003c/em> is no surprise to UCLA sociologist Darnell Hunt. His \u003ca href=\"https://socialsciences.ucla.edu/hollywood-diversity-report-2018/\">annual report on Hollywood diversity\u003c/a> argues that movies and TV shows with diverse casts and creators pay off for the industry’s bottom line.\u003c/p>\n\u003cp>Hunt says \u003cem>Black Panther\u003c/em>, for example, “smashed all of the Hollywood myths that you can’t have a black lead, that you can’t have a predominantly black cast and [have] the film do well. It’s an example of what can be done if the industry is true to the nature of the market. But it’s too early to tell if \u003cem>Black Panther\u003c/em> will change business practices or it’s an outlier. We argue it demonstrates what’s possible beyond standard Hollywood practices.”\u003c/p>\n\u003cp>The fifth annual diversity report is subtitled, “Five Years of Progress and Missed Opportunities,” suggesting that America’s increasingly diverse audience prefers diverse film and television content. The study reports that people of color bought the majority of movie tickets for the five of the top 10 films in 2016, and television shows with diverse casts did well in both ratings and social media.\u003c/p>\n\u003cp>Hunt’s team crunched the numbers for Hollywood’s top 200 films and 100 TV shows from 2015 to 2016. What they found, according to Hunt, was a “mixed bag” that over time shows a pattern: “Two steps ahead, one step back. But at the end of five years, we see there’s not much progress.”\u003c/p>\n\u003cp>The report states that people of color make up nearly 40 percent of the U.S. population, yet they remain underrepresented on every front on all platforms, including lead roles, writers, directors and showrunners. It finds the same for the talent agents who serve as important industry gatekeepers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report also shows that despite making up more than half the population, women remain underrepresented. They gained some jobs in film and TV, but as film directors, they were outnumbered seven to one. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hunt says there are a few bright spots in television: Broadcast TV and children’s series are increasingly diverse and do well in the ratings. “Most babies born in America today are not white,” Hunt notes, “so if you look at children’s programming, it’s unmistakable that you \u003cem>must\u003c/em> have diversity, otherwise the show fails.” \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=Hollywood+Diversity+Study+Finds+%27Mixed+Bag%27+When+It+Comes+To+Representation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The global \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/18/586935542/black-panther-breaks-records-and-barriers-in-debut-weekend\" target=\"_blank\" rel=\"noopener\">box office success\u003c/a> of \u003cem>Black Panther\u003c/em> is no surprise to UCLA sociologist Darnell Hunt. His \u003ca href=\"https://socialsciences.ucla.edu/hollywood-diversity-report-2018/\">annual report on Hollywood diversity\u003c/a> argues that movies and TV shows with diverse casts and creators pay off for the industry’s bottom line.\u003c/p>\n\u003cp>Hunt says \u003cem>Black Panther\u003c/em>, for example, “smashed all of the Hollywood myths that you can’t have a black lead, that you can’t have a predominantly black cast and [have] the film do well. It’s an example of what can be done if the industry is true to the nature of the market. But it’s too early to tell if \u003cem>Black Panther\u003c/em> will change business practices or it’s an outlier. We argue it demonstrates what’s possible beyond standard Hollywood practices.”\u003c/p>\n\u003cp>The fifth annual diversity report is subtitled, “Five Years of Progress and Missed Opportunities,” suggesting that America’s increasingly diverse audience prefers diverse film and television content. The study reports that people of color bought the majority of movie tickets for the five of the top 10 films in 2016, and television shows with diverse casts did well in both ratings and social media.\u003c/p>\n\u003cp>Hunt’s team crunched the numbers for Hollywood’s top 200 films and 100 TV shows from 2015 to 2016. What they found, according to Hunt, was a “mixed bag” that over time shows a pattern: “Two steps ahead, one step back. But at the end of five years, we see there’s not much progress.”\u003c/p>\n\u003cp>The report states that people of color make up nearly 40 percent of the U.S. population, yet they remain underrepresented on every front on all platforms, including lead roles, writers, directors and showrunners. It finds the same for the talent agents who serve as important industry gatekeepers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The report also shows that despite making up more than half the population, women remain underrepresented. They gained some jobs in film and TV, but as film directors, they were outnumbered seven to one. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hunt says there are a few bright spots in television: Broadcast TV and children’s series are increasingly diverse and do well in the ratings. “Most babies born in America today are not white,” Hunt notes, “so if you look at children’s programming, it’s unmistakable that you \u003cem>must\u003c/em> have diversity, otherwise the show fails.” \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=Hollywood+Diversity+Study+Finds+%27Mixed+Bag%27+When+It+Comes+To+Representation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Several dozen music festivals and conferences held around the world have pledged to bring gender parity to their stages and panel discussions, the U.K.-based PRS Foundation \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">announced yesterday\u003c/a> as part of an ongoing project called Keychange. These events join eight other festivals who promised their participation when the project, described by PRS as “a pioneering European initiative which is empowering women to transform the future of the music industry,” first launched.\u003c/p>\n\u003cp>“Half our audience is female, so it makes sense that that should be reflected on stage too,” says Angela Dorgan, organizer of the Dublin emerging music festival Hard Working Class Heroes, in a statement accompanying the announcement.\u003c/p>\n\u003cp>The Proms, an annual classical music festival in the U.K., also put its name to the pledge. The move is particularly noteworthy given the festival’s scale — daily performances over the course of eight weeks — and classical music’s especially poor reputation for equal gender representation, both in \u003ca href=\"http://www.bsomusic.org/stories/the-data-behind-the-2016-2017-orchestra-season/\" target=\"_blank\" rel=\"noopener\">the compositions chosen\u003c/a> for performance and \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2013/10/09/230751348/what-is-classical-musics-women-problem\" target=\"_blank\" rel=\"noopener\">the conductors leading them\u003c/a>. Marin Alsop, who in 2013 became the first woman to conduct The Proms’ prestigious Last Night concert, \u003ca href=\"https://www.youtube.com/watch?v=o9Lxk7LRiBI\" target=\"_blank\" rel=\"noopener\">said in a speech \u003c/a>at the performance’s close: “I have to say, I’m still quite shocked that it can be 2013 and there can still be firsts for women.”\u003c/p>\n\u003cp>At Coachella, one of the world’s best-known and most successful music festivals, 55 of 163 acts booked for this year include women in their lineup; of those, 35 are solo artists. Goldenvoice, the festival’s parent company (itself owned by AEG), did not immediately respond to a request for comment on gender parity initiatives or whether it planned to institute its own.\u003c/p>\n\u003cp>The lack of equal representation extends across the whole of the music world. \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-recording-studio.pdf\">A recent study\u003c/a> from the Annenberg Inclusion Initiative, published in January, analyzed the 600 songs included in the end-of-year Hot 100 singles chart between 2012 and 2017. It found 22.4 percent of those songs were performed by female artists, while only 12.3 percent of them were written by female songwriters and 2 percent were produced by women.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pattern repeats within the industry’s executive class, according to one of its few major metrics. Within the \u003ca href=\"https://www.billboard.com/articles/business/8096144/billboard-2018-power-100-list\" target=\"_blank\" rel=\"noopener\">Power 100\u003c/a>, \u003cem>Billboard\u003c/em>‘s annual ranking of the music industry’s most powerful executives, 17 percent are women. Live Nation — the world’s largest concert promoter, which owns dozens of festivals, and whose CEO topped this year’s Power 100 — declined to comment on equal representation initiatives, and referred NPR Music to its subsidiary companies for comment on gender parity at the festivals in which it owns controlling stakes.\u003c/p>\n\u003cp>Percentages don’t tell the whole story. Composer Du Yun, winner of the 2017 Pulitzer Prize for music for her opera \u003cem>Angel’s Bone\u003c/em>, advised caution on that front \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/05/526968527/looking-for-womens-music-at-the-symphony-good-luck\" target=\"_blank\" rel=\"noopener\">in a conversation\u003c/a> with NPR Music’s Tom Huizenga last year. “I think the debate of equality and diversity should happen within ourselves,” she said. “We need to understand what diversity means to us, so that we don’t just stop at an Excel sheet.”\u003c/p>\n\u003cp>Even so, the difference revealed by the numbers alone is steep. As the creators of Keychange explain on its website, “Across the participating countries’ collecting societies, women represent 20 percent or less of registered composers and songwriters. Earnings for women are even lower.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cyrena Touros contributed additional reporting to this story.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dozens+Of+Music+Festivals+Announce+Gender+Balance+Initiative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several dozen music festivals and conferences held around the world have pledged to bring gender parity to their stages and panel discussions, the U.K.-based PRS Foundation \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">announced yesterday\u003c/a> as part of an ongoing project called Keychange. These events join eight other festivals who promised their participation when the project, described by PRS as “a pioneering European initiative which is empowering women to transform the future of the music industry,” first launched.\u003c/p>\n\u003cp>“Half our audience is female, so it makes sense that that should be reflected on stage too,” says Angela Dorgan, organizer of the Dublin emerging music festival Hard Working Class Heroes, in a statement accompanying the announcement.\u003c/p>\n\u003cp>The Proms, an annual classical music festival in the U.K., also put its name to the pledge. The move is particularly noteworthy given the festival’s scale — daily performances over the course of eight weeks — and classical music’s especially poor reputation for equal gender representation, both in \u003ca href=\"http://www.bsomusic.org/stories/the-data-behind-the-2016-2017-orchestra-season/\" target=\"_blank\" rel=\"noopener\">the compositions chosen\u003c/a> for performance and \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2013/10/09/230751348/what-is-classical-musics-women-problem\" target=\"_blank\" rel=\"noopener\">the conductors leading them\u003c/a>. Marin Alsop, who in 2013 became the first woman to conduct The Proms’ prestigious Last Night concert, \u003ca href=\"https://www.youtube.com/watch?v=o9Lxk7LRiBI\" target=\"_blank\" rel=\"noopener\">said in a speech \u003c/a>at the performance’s close: “I have to say, I’m still quite shocked that it can be 2013 and there can still be firsts for women.”\u003c/p>\n\u003cp>At Coachella, one of the world’s best-known and most successful music festivals, 55 of 163 acts booked for this year include women in their lineup; of those, 35 are solo artists. Goldenvoice, the festival’s parent company (itself owned by AEG), did not immediately respond to a request for comment on gender parity initiatives or whether it planned to institute its own.\u003c/p>\n\u003cp>The lack of equal representation extends across the whole of the music world. \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-recording-studio.pdf\">A recent study\u003c/a> from the Annenberg Inclusion Initiative, published in January, analyzed the 600 songs included in the end-of-year Hot 100 singles chart between 2012 and 2017. It found 22.4 percent of those songs were performed by female artists, while only 12.3 percent of them were written by female songwriters and 2 percent were produced by women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pattern repeats within the industry’s executive class, according to one of its few major metrics. Within the \u003ca href=\"https://www.billboard.com/articles/business/8096144/billboard-2018-power-100-list\" target=\"_blank\" rel=\"noopener\">Power 100\u003c/a>, \u003cem>Billboard\u003c/em>‘s annual ranking of the music industry’s most powerful executives, 17 percent are women. Live Nation — the world’s largest concert promoter, which owns dozens of festivals, and whose CEO topped this year’s Power 100 — declined to comment on equal representation initiatives, and referred NPR Music to its subsidiary companies for comment on gender parity at the festivals in which it owns controlling stakes.\u003c/p>\n\u003cp>Percentages don’t tell the whole story. Composer Du Yun, winner of the 2017 Pulitzer Prize for music for her opera \u003cem>Angel’s Bone\u003c/em>, advised caution on that front \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/05/526968527/looking-for-womens-music-at-the-symphony-good-luck\" target=\"_blank\" rel=\"noopener\">in a conversation\u003c/a> with NPR Music’s Tom Huizenga last year. “I think the debate of equality and diversity should happen within ourselves,” she said. “We need to understand what diversity means to us, so that we don’t just stop at an Excel sheet.”\u003c/p>\n\u003cp>Even so, the difference revealed by the numbers alone is steep. As the creators of Keychange explain on its website, “Across the participating countries’ collecting societies, women represent 20 percent or less of registered composers and songwriters. Earnings for women are even lower.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cyrena Touros contributed additional reporting to this story.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dozens+Of+Music+Festivals+Announce+Gender+Balance+Initiative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>https://www.youtube.com/watch?v=ZmnTGTyRjEM\u003c/p>\n\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WPQRMeU4Co0\u003c/p>\n\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Chicana punk legend inhabits the foremothers of \u003cem>9 to 5\u003c/em> to lambaste the gender pay gap.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/ZmnTGTyRjEM'\n title='//www.youtube.com/embed/ZmnTGTyRjEM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\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/WPQRMeU4Co0'\n title='//www.youtube.com/embed/WPQRMeU4Co0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Weinstein Company Will File for Bankruptcy After Sale Talks Collapse",
"headTitle": "Weinstein Company Will File for Bankruptcy After Sale Talks Collapse | KQED",
"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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"excerpt": "New York's attorney general filed a civil rights lawsuit against the company two weeks ago, which may have scuttled the deal. Bankruptcy may also hinder plans for a victim compensation fund.",
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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'",
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"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>\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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"excerpt": "Steeped in cultural significance, the film opened to $192 domestically, the biggest February debut ever, said Disney. It's also already the highest-grossing film by a black director. ",
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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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"slug": "janelle-monae-teases-dystopic-afro-futurist-emotion-picture-dirty-computer",
"title": "Janelle Monáe Teases Dystopic, Afro-Futurist Emotion Picture 'Dirty Computer'",
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"headTitle": "Janelle Monáe Teases Dystopic, Afro-Futurist Emotion Picture ‘Dirty Computer’ | KQED",
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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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"excerpt": "Monae expands her Afro-cyber-heart technoverse with the announcement of an album and a film, co-starring Westworld's Tessa Thompson.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/A9k89DYdHKQ'\n title='//www.youtube.com/embed/A9k89DYdHKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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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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"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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"marketplace": {
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"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",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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",
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"politicalbreakdown": {
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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