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"title": "In 'The Insult,' All Politics Is A Local Neighborhood Squabble",
"headTitle": "In ‘The Insult,’ All Politics Is A Local Neighborhood Squabble | KQED",
"content": "\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. I mean Lebanon does take you by surprise from time to time.”\u003c/p>\n\u003cp>Ziad Doueiri says his cinema takes him by surprise too.\u003c/p>\n\u003cp>His default setting is angry and cynical. He’s been known to throw insults. But he says it’s through his films that he calms down.\u003c/p>\n\u003cp>“In my film, I try to tap into the moderate part of me,” Doueiri says. “Otherwise you lose your mind. But if you let me out there, I can be a lot angrier. If you hear what I really think, I would be the subject of a different interview.”\u003c/p>\n\u003cp>Ziad Doueiri says his films are his way of healing the scars that still divide Beirut — and his way of pouring water over the insults that inflame so easily.\u003c/p>\n\u003cp>https://youtu.be/QEQDZL6bAXo\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. I mean Lebanon does take you by surprise from time to time.”\u003c/p>\n\u003cp>Ziad Doueiri says his cinema takes him by surprise too.\u003c/p>\n\u003cp>His default setting is angry and cynical. He’s been known to throw insults. But he says it’s through his films that he calms down.\u003c/p>\n\u003cp>“In my film, I try to tap into the moderate part of me,” Doueiri says. “Otherwise you lose your mind. But if you let me out there, I can be a lot angrier. If you hear what I really think, I would be the subject of a different interview.”\u003c/p>\n\u003cp>Ziad Doueiri says his films are his way of healing the scars that still divide Beirut — and his way of pouring water over the insults that inflame so easily.\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/QEQDZL6bAXo'\n title='//www.youtube.com/embed/QEQDZL6bAXo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Mark E. Smith: An Uncompromising, Essential Voice From Music's Fringe",
"headTitle": "Mark E. Smith: An Uncompromising, Essential Voice From Music’s Fringe | KQED",
"content": "\u003cp>It is safe to say that there was no one else like Mark E. Smith. The irascible leader of the legendary Manchester post-punk group The Fall — who died yesterday at the age of 60 — was a true artist and eccentric. An acerbic British icon with working-class roots, his words were like cryptic incantations, layered with bone-dry wit and an interest in horror, fantasy and the surreal. Smith was a stubborn contrarian who broke new ground both sonically and lyrically with the band he founded, and then owned that territory for over 40 years and dozens of albums.\u003c/p>\n\u003cp>The Fall first formed in Prestwich, near Manchester, in 1976, taking its name from the title of a darkly philosophical novel by Albert Camus. The group bonded over a share interest in literature, bands like Can and the Velvet Underground and copious amounts of psychedelic drugs. (Smith even took acid before his high school O-level exams, according to an account by his friend Dave Haslam.)\u003c/p>\n\u003cfigure id=\"attachment_13820044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg\" alt=\"The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr\" width=\"400\" height=\"400\" class=\"size-full wp-image-13820044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr. \u003ccite>(Pamela Vander / Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s unique skill as a lyricist was evident from the band’s earliest days, his stream-of-consciousness style laced with sideways references, quirky humor, sharply honed imagery and trenchant observations on British society, culture and politics. “It was like a poetry group at first,” recalled Martin Bramah, The Fall’s first guitarist, to the critic Simon Reynolds in the anthology \u003cem>Totally Wired\u003c/em>. “We used to share our innermost feelings in words and play our favorite albums. Mark bought a guitar but couldn’t play it. I was already singing in another band, so the first lineup of The Fall was me singing and Mark playing guitar. It quickly switched because Mark was writing these mad, well-observed lyrics. Our early stuff sounded American, but Mark picked up on how to make Manchester interesting.”\u003c/p>\n\u003cp>Manchester occupies a legendary place in music lore; a huge number of bands were spawned within the city’s grim industrial confines during that era. The scene surrounding Joy Division and Factory Records captured the public’s imagination, but it was The Fall who held the crown as the strangest and most singular band to have ever come out of Manchester. The group’s debut album, 1979’s \u003cem>Live at the Witch Trials\u003c/em>, proved it to already be well on its way to developing a signature sound: a churning, propulsive rhythm section, an emphasis on extreme, almost trancelike repetition and pointed, cryptic lyrics that Smith scowled with a voice that sometimes sounded like he was gargling razorblades. With each successive album, The Fall honed its technique, with Smith reveling in all ideas that ran counter to social norms.\u003c/p>\n\u003cp>“The Fall’s work — particularly in their period between 1980-1982 — is steeped in references to the grotesque and the weird,” wrote the late critic Mark Fisher in his book \u003cem>The Weird and the Eerie\u003c/em>. The group’s methodology at this time is vividly captured in the cover image for the 1980 single, “City Hobgoblins,” in which we see an urban scene invaded by “’emigres from old green glades’: a leering, malevolent cobold looms over a dilapidated tenement …. A group like The Fall — working class and experimental, popular and modernist — could not and should not exist, and The Fall are remarkable for the way in which they draw out a cultural politics of the weird and the grotesque.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fall proudly showed off that flair for the bizarre and monstrous, titling its 1980 album \u003cem>Grotesque (After the Gramme.)\u003c/em> By this time, the original founding members of The Fall — Bramah on guitar, Tony Friel on bass, Karl Burns on drums, Una Baines on keyboards and Smith on vocals — had dissolved, leaving Smith as the sole original member. It was a theme that would continue apace throughout Smith’s long career in The Fall — the members of the group shifted constantly and erratically from album to album, or even from month to month, with Smith as the only constant presence. Nearly 70 people have been members of The Fall over the course of the past four decades — an eye-popping number. “If it’s me and your granny on bongos, it’s The Fall,” Smith once famously quipped — less a joke than a statement of fact.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_3upVG_Bj3A\u003c/p>\n\u003cp>Smith’s group garnered many prominent fans — the legendary British DJ John Peel was a constant champion — but The Fall never quite hit the mainstream in the United States. In the 1980s, Smith’s marriage and creative partnership with Brix Smith (now Brix Smith Start) helped lead to some of the catchiest, most upbeat music of their career — most notably on 1985’s \u003cem>This Nation’s Saving Grace\u003c/em> — but the band remained oblique and abstruse, even in its poppiest days. “He never once compromised,” Brix Smith Start wrote of Smith in \u003ca href=\"https://twitter.com/Brixsmithstart/status/956481944547725312\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> released after his death, “how many others can leave this live with such a singularity of vision?”\u003c/p>\n\u003cp>Mark E. Smith led The Fall through over 30 studio albums, along with a flood of EPs, singles, and collaborations, amounting to dizzying discography that could bewilder even the most die-hard record collector. Some of these records were absurdly brilliant — like \u003cem>Hex Enduction Hour\u003c/em> (1982) and \u003cem>The Wonderful and Frightening World Of…\u003c/em> (1984); others were a mixed bag, and a few were absolute failures. The same could be said for The Fall’s live performances, which could be as transcendent as they were unhinged. It didn’t help that Smith picked fights with band mates and girlfriends, or that his behavior could be prickly, to say the least.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Smith kept creating, and kept touring, up until almost the end. As the guiding force of The Fall — and the only member of The Fall who never quit the band — Smith and The Fall became synonymous with each other. And while many bands were inspired by The Fall — Pavement, Sonic Youth and the Pixies among them — no one sounded exactly like the group. Without Smith, there can be no Fall, and the wonderful and frightening world of music he ferociously hurled forth is now a bit less wonderful and frightening as a result. “When I’m dead and gone / my vibrations will live on / In vibes on vinyl through the years,” he howled on the song “Psykick Dancehall,” released in 1979. The Fall’s music will, indeed, live on.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mark+E.+Smith+Was+An+Uncompromising+And+Essential+Voice+From+Music%27s+Fringe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is safe to say that there was no one else like Mark E. Smith. The irascible leader of the legendary Manchester post-punk group The Fall — who died yesterday at the age of 60 — was a true artist and eccentric. An acerbic British icon with working-class roots, his words were like cryptic incantations, layered with bone-dry wit and an interest in horror, fantasy and the surreal. Smith was a stubborn contrarian who broke new ground both sonically and lyrically with the band he founded, and then owned that territory for over 40 years and dozens of albums.\u003c/p>\n\u003cp>The Fall first formed in Prestwich, near Manchester, in 1976, taking its name from the title of a darkly philosophical novel by Albert Camus. The group bonded over a share interest in literature, bands like Can and the Velvet Underground and copious amounts of psychedelic drugs. (Smith even took acid before his high school O-level exams, according to an account by his friend Dave Haslam.)\u003c/p>\n\u003cfigure id=\"attachment_13820044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg\" alt=\"The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr\" width=\"400\" height=\"400\" class=\"size-full wp-image-13820044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr. \u003ccite>(Pamela Vander / Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s unique skill as a lyricist was evident from the band’s earliest days, his stream-of-consciousness style laced with sideways references, quirky humor, sharply honed imagery and trenchant observations on British society, culture and politics. “It was like a poetry group at first,” recalled Martin Bramah, The Fall’s first guitarist, to the critic Simon Reynolds in the anthology \u003cem>Totally Wired\u003c/em>. “We used to share our innermost feelings in words and play our favorite albums. Mark bought a guitar but couldn’t play it. I was already singing in another band, so the first lineup of The Fall was me singing and Mark playing guitar. It quickly switched because Mark was writing these mad, well-observed lyrics. Our early stuff sounded American, but Mark picked up on how to make Manchester interesting.”\u003c/p>\n\u003cp>Manchester occupies a legendary place in music lore; a huge number of bands were spawned within the city’s grim industrial confines during that era. The scene surrounding Joy Division and Factory Records captured the public’s imagination, but it was The Fall who held the crown as the strangest and most singular band to have ever come out of Manchester. The group’s debut album, 1979’s \u003cem>Live at the Witch Trials\u003c/em>, proved it to already be well on its way to developing a signature sound: a churning, propulsive rhythm section, an emphasis on extreme, almost trancelike repetition and pointed, cryptic lyrics that Smith scowled with a voice that sometimes sounded like he was gargling razorblades. With each successive album, The Fall honed its technique, with Smith reveling in all ideas that ran counter to social norms.\u003c/p>\n\u003cp>“The Fall’s work — particularly in their period between 1980-1982 — is steeped in references to the grotesque and the weird,” wrote the late critic Mark Fisher in his book \u003cem>The Weird and the Eerie\u003c/em>. The group’s methodology at this time is vividly captured in the cover image for the 1980 single, “City Hobgoblins,” in which we see an urban scene invaded by “’emigres from old green glades’: a leering, malevolent cobold looms over a dilapidated tenement …. A group like The Fall — working class and experimental, popular and modernist — could not and should not exist, and The Fall are remarkable for the way in which they draw out a cultural politics of the weird and the grotesque.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Fall proudly showed off that flair for the bizarre and monstrous, titling its 1980 album \u003cem>Grotesque (After the Gramme.)\u003c/em> By this time, the original founding members of The Fall — Bramah on guitar, Tony Friel on bass, Karl Burns on drums, Una Baines on keyboards and Smith on vocals — had dissolved, leaving Smith as the sole original member. It was a theme that would continue apace throughout Smith’s long career in The Fall — the members of the group shifted constantly and erratically from album to album, or even from month to month, with Smith as the only constant presence. Nearly 70 people have been members of The Fall over the course of the past four decades — an eye-popping number. “If it’s me and your granny on bongos, it’s The Fall,” Smith once famously quipped — less a joke than a statement of fact.\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/_3upVG_Bj3A'\n title='//www.youtube.com/embed/_3upVG_Bj3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Smith’s group garnered many prominent fans — the legendary British DJ John Peel was a constant champion — but The Fall never quite hit the mainstream in the United States. In the 1980s, Smith’s marriage and creative partnership with Brix Smith (now Brix Smith Start) helped lead to some of the catchiest, most upbeat music of their career — most notably on 1985’s \u003cem>This Nation’s Saving Grace\u003c/em> — but the band remained oblique and abstruse, even in its poppiest days. “He never once compromised,” Brix Smith Start wrote of Smith in \u003ca href=\"https://twitter.com/Brixsmithstart/status/956481944547725312\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> released after his death, “how many others can leave this live with such a singularity of vision?”\u003c/p>\n\u003cp>Mark E. Smith led The Fall through over 30 studio albums, along with a flood of EPs, singles, and collaborations, amounting to dizzying discography that could bewilder even the most die-hard record collector. Some of these records were absurdly brilliant — like \u003cem>Hex Enduction Hour\u003c/em> (1982) and \u003cem>The Wonderful and Frightening World Of…\u003c/em> (1984); others were a mixed bag, and a few were absolute failures. The same could be said for The Fall’s live performances, which could be as transcendent as they were unhinged. It didn’t help that Smith picked fights with band mates and girlfriends, or that his behavior could be prickly, to say the least.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smith kept creating, and kept touring, up until almost the end. As the guiding force of The Fall — and the only member of The Fall who never quit the band — Smith and The Fall became synonymous with each other. And while many bands were inspired by The Fall — Pavement, Sonic Youth and the Pixies among them — no one sounded exactly like the group. Without Smith, there can be no Fall, and the wonderful and frightening world of music he ferociously hurled forth is now a bit less wonderful and frightening as a result. “When I’m dead and gone / my vibrations will live on / In vibes on vinyl through the years,” he howled on the song “Psykick Dancehall,” released in 1979. The Fall’s music will, indeed, live on.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mark+E.+Smith+Was+An+Uncompromising+And+Essential+Voice+From+Music%27s+Fringe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hugh Masekela, Father Of South African Jazz, Dies At 78",
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"content": "\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a60v-flk1OE\u003c/p>\n\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\u003c/p>\n\u003cp>https://youtu.be/D4I_9OXtKUo\u003c/p>\n\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\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=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\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/a60v-flk1OE'\n title='//www.youtube.com/embed/a60v-flk1OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\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/D4I_9OXtKUo'\n title='//www.youtube.com/embed/D4I_9OXtKUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\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=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>American power’s potential to injure innocents is encapsulated by off-screen mishaps on a much smaller scale than the Iraq War: A young boy is hit by a car in Power’s motorcade, and a U.N. convoy carrying humanitarian aid in Syria is accidentally shelled by U.S. bombs. The staffers’ reactions to these incidents give a sense of the burden of making geopolitical strategy. \u003c/p>\n\u003cp>https://youtu.be/4UUpnqvIwF4 \u003c/p>\n\u003cp>Less telling are the movie’s occasional flashbacks, which include a section on Kerry’s opposition to the Vietnam War and a montage of Obama’s visits to ancient monuments in Britain, Greece, Egypt, and Jordan. The arc of history is long, but in these sequences it doesn’t bend toward anything in particular. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s most sobering element is not the Obama administration’s obligation to great bygone civilizations, but the historical fluke named Donald Trump. While the narrative doesn’t end until inauguration day, it climaxes with election-night TV-watching parties during which the Obama camp’s hope ebbs and finally crumbles. Barack Obama may have aspired to Olympian detachment, but \u003cem>The Final Year\u003c/em>‘s most compelling moments reveal chagrin, regret, and shock.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>American power’s potential to injure innocents is encapsulated by off-screen mishaps on a much smaller scale than the Iraq War: A young boy is hit by a car in Power’s motorcade, and a U.N. convoy carrying humanitarian aid in Syria is accidentally shelled by U.S. bombs. The staffers’ reactions to these incidents give a sense of the burden of making geopolitical strategy. \u003c/p>\n\u003cp>https://youtu.be/4UUpnqvIwF4 \u003c/p>\n\u003cp>Less telling are the movie’s occasional flashbacks, which include a section on Kerry’s opposition to the Vietnam War and a montage of Obama’s visits to ancient monuments in Britain, Greece, Egypt, and Jordan. The arc of history is long, but in these sequences it doesn’t bend toward anything in particular. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s most sobering element is not the Obama administration’s obligation to great bygone civilizations, but the historical fluke named Donald Trump. While the narrative doesn’t end until inauguration day, it climaxes with election-night TV-watching parties during which the Obama camp’s hope ebbs and finally crumbles. Barack Obama may have aspired to Olympian detachment, but \u003cem>The Final Year\u003c/em>‘s most compelling moments reveal chagrin, regret, and shock.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's Gospel Star Edwin Hawkins, Known For 'Oh Happy Day,' Dies At 74",
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"content": "\u003cp>Grammy Award-winning singer Edwin Hawkins died on Monday at his home in Pleasanton, Calif.\u003c/p>\n\u003cp>His publicist Bill Carpenter told news organizations that the cause was pancreatic cancer. Hawkins was 74.\u003c/p>\n\u003cp>A native of Oakland, Hawkins had been performing with his family and in church groups since he was a boy. In the late 1960s, when Hawkins was in his 20s, he helped form the Northern California State Youth Choir. The group recorded its first album, \u003cem>Let Us Go Into the House of the Lord\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nytimes.com/2018/01/15/obituaries/edwin-hawkins-dead-gospel-singer.html?_r=0\">New York Times reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The record rendered songs of praise with a rhythm-and-blues sensibility. A disc jockey at the Bay Area FM station KSAN, Abe Kesh, began playing one particular track, “Oh Happy Day.”\u003c/p>\n\u003cp>“The catchy song spread, and, with the group renamed the Edwin Hawkins Singers, it was released as a single and eventually reached No. 4 on the Billboard pop chart and No. 2 on the R&B chart.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1970, “Oh Happy Day” won a Grammy for best soul gospel performance. The unusual pop hit was an inspiration to music historian Mitch Myers. He reflected on the song during a segment of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=890702\">All Things Considered\u003c/a> on Christmas Day in 2002.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For its is simple message of hope, spirit and goodwill to mankind, Myers said he wished “Oh Happy Day” to Christians, Jews, Muslims, Buddhists and followers of every other religious persuasion, including agnostics and atheists as well.\u003c/p>\n\u003cp>The gospel song was an inspiration to other types of singers as well, The Associated Press reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“George Harrison would cite “Oh Happy Day” as inspiration for his hit “My Sweet Lord,” and Glen Campbell reached the adult contemporary charts with his own version of the Hawkins performance. Elvis Presley, Johnny Mathis and numerous others also would record it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Throughout his career, Edwin Hawkins won a total of four Grammys, and he was voted into the Christian Music Hall of Fame in 2007.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hawkins’ younger brother \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128466057\">Walter died in 2010 \u003c/a>at the age of 61. Walter Hawkins — also a Grammy Award singer-songwriter and pastor of Love Center church in Oakland — died after a long bout with cancer. \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=Gospel+Star+Edwin+Hawkins%2C+Known+For+%27Oh+Happy+Day%2C%27+Dies+At+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grammy Award-winning singer Edwin Hawkins died on Monday at his home in Pleasanton, Calif.\u003c/p>\n\u003cp>His publicist Bill Carpenter told news organizations that the cause was pancreatic cancer. Hawkins was 74.\u003c/p>\n\u003cp>A native of Oakland, Hawkins had been performing with his family and in church groups since he was a boy. In the late 1960s, when Hawkins was in his 20s, he helped form the Northern California State Youth Choir. The group recorded its first album, \u003cem>Let Us Go Into the House of the Lord\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nytimes.com/2018/01/15/obituaries/edwin-hawkins-dead-gospel-singer.html?_r=0\">New York Times reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The record rendered songs of praise with a rhythm-and-blues sensibility. A disc jockey at the Bay Area FM station KSAN, Abe Kesh, began playing one particular track, “Oh Happy Day.”\u003c/p>\n\u003cp>“The catchy song spread, and, with the group renamed the Edwin Hawkins Singers, it was released as a single and eventually reached No. 4 on the Billboard pop chart and No. 2 on the R&B chart.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1970, “Oh Happy Day” won a Grammy for best soul gospel performance. The unusual pop hit was an inspiration to music historian Mitch Myers. He reflected on the song during a segment of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=890702\">All Things Considered\u003c/a> on Christmas Day in 2002.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For its is simple message of hope, spirit and goodwill to mankind, Myers said he wished “Oh Happy Day” to Christians, Jews, Muslims, Buddhists and followers of every other religious persuasion, including agnostics and atheists as well.\u003c/p>\n\u003cp>The gospel song was an inspiration to other types of singers as well, The Associated Press reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“George Harrison would cite “Oh Happy Day” as inspiration for his hit “My Sweet Lord,” and Glen Campbell reached the adult contemporary charts with his own version of the Hawkins performance. Elvis Presley, Johnny Mathis and numerous others also would record it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Throughout his career, Edwin Hawkins won a total of four Grammys, and he was voted into the Christian Music Hall of Fame in 2007.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hawkins’ younger brother \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128466057\">Walter died in 2010 \u003c/a>at the age of 61. Walter Hawkins — also a Grammy Award singer-songwriter and pastor of Love Center church in Oakland — died after a long bout with cancer. \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=Gospel+Star+Edwin+Hawkins%2C+Known+For+%27Oh+Happy+Day%2C%27+Dies+At+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'In The Fade': A Fine Central Performance, An Uncertain Ending",
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"content": "\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Post': Pentagon Papers Put The Press Under Pressure",
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"content": "\u003cp>Steven Spielberg’s \u003cem>The Post\u003c/em> is a story of journalists, government leaks, and a president who hates the press. It’s about the publication of the Pentagon Papers in 1971, but there’s a reason Spielberg rushed to tell the story now. \u003c/p>\n\u003cp>And he really \u003cem>did\u003c/em> rush: The filmmaker has long talked about making a Pentagon Papers movie, but the 2016 election made him feel it had become urgent. He got the working script just weeks after the inauguration, rounded up his high-powered cast, and leapt into production as if he were making a little indie flick on the fly. \u003c/p>\n\u003cp>https://youtu.be/nrXlY6gzTTM\u003c/p>\n\u003cp>But this story is big. We begin with defense secretary Robert McNamara (Bruce Greenwood) talking with staffers on a plane about how badly things are going in Vietnam — but then, when talking to reporters the moment they touch down, praising the progress the U.S. is making. \u003c/p>\n\u003cp>Staffer Daniel Ellsberg (Matthew Rhys) registers this disconnect, and leaks a top-secret government report on the war to the \u003cem>New York Times\u003c/em>. And whenever the \u003cem>Times\u003c/em> gets a scoop, \u003cem>Washington Post\u003c/em> editor Ben Bradlee (Tom Hanks) gets riled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, of course, the \u003cem>Washington Post\u003c/em> is a brand name. In 1971, it was an underfunded, family-owned paper, making its first stock offering with a perceived disadvantage. The recent death of publisher Phil Graham had left his wife Katharine (played here by Meryl Streep) at the helm.\u003c/p>\n\u003cp>Bradlee’s ambitions were not modest, however. He just needed time. And now, suddenly, when the \u003ci>Post\u003c/i> also got their own copy of the report, he had it.\u003c/p>\n\u003cp>Though \u003cem>The Post\u003c/em> seems to fit squarely with Spielbergian histories like \u003cem>Lincoln\u003c/em> and \u003cem>Schindler’s List\u003c/em>, there’s a definite Ark-of-the-Covenant vibe to the film when the box of Pentagon Papers arrives, and an \u003cem>Indiana Jones\u003c/em> urgency to the frenzy that follows, because the \u003cem>Post\u003c/em> had hours to sift through thousands of pages and do what had taken the \u003cem>Times\u003c/em> months. \u003c/p>\n\u003cp>The film isn’t Spielberg’s subtlest, but it has some nicely subtle touches, like when his long-lens camera peers through White House windows to catch glimpses of a president and his henchmen; we hear their actual voices from tapes Nixon was forced to give up, years later. \u003c/p>\n\u003cp>It’s a film where the clatter of typewriters competes with the whoosh of pages sent by pneumatic tube to a pressroom where molten lead turns them into lines of type. \u003c/p>\n\u003cp>Tom Hanks makes for a blustery Ben Bradlee, and Meryl Streep plays Kay Graham as hesitant but steely, seemingly the only woman in the corridors of power — and ironically, the one with the power to defend the First Amendment. Bradlee can talk principle all he wants — and he does here, often — but only Graham can publish.\u003c/p>\n\u003cp>It’s melodrama, but effective, about an age where the First Amendment means something, where a power-mad president gets called to account by a crusading press, and where a woman can not just find her voice but … well, as Spielberg does in \u003cem>The Post\u003c/em>, I should let you fill in the blanks. Trust me, you will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steven Spielberg’s \u003cem>The Post\u003c/em> is a story of journalists, government leaks, and a president who hates the press. It’s about the publication of the Pentagon Papers in 1971, but there’s a reason Spielberg rushed to tell the story now. \u003c/p>\n\u003cp>And he really \u003cem>did\u003c/em> rush: The filmmaker has long talked about making a Pentagon Papers movie, but the 2016 election made him feel it had become urgent. He got the working script just weeks after the inauguration, rounded up his high-powered cast, and leapt into production as if he were making a little indie flick on the fly. \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/nrXlY6gzTTM'\n title='//www.youtube.com/embed/nrXlY6gzTTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But this story is big. We begin with defense secretary Robert McNamara (Bruce Greenwood) talking with staffers on a plane about how badly things are going in Vietnam — but then, when talking to reporters the moment they touch down, praising the progress the U.S. is making. \u003c/p>\n\u003cp>Staffer Daniel Ellsberg (Matthew Rhys) registers this disconnect, and leaks a top-secret government report on the war to the \u003cem>New York Times\u003c/em>. And whenever the \u003cem>Times\u003c/em> gets a scoop, \u003cem>Washington Post\u003c/em> editor Ben Bradlee (Tom Hanks) gets riled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/511450307/milck\">MILCK\u003c/a>, the singer who drew widespread attention after \u003ca href=\"https://www.npr.org/sections/allsongs/2017/01/23/511186649/a-flash-mob-choir-at-the-womens-march-turned-this-unknown-song-into-an-anthem\">performing her song “Quiet” at last year’s Women’s March\u003c/a> in Washington, D.C. is back with a follow-up single called “This Is Not The End.” Much like “Quiet,” the new song is a propulsive, sometimes soaring anthem to self-empowerment and resistance in the face of adversity.\u003c/p>\n\u003cp>[contextly_sidebar id=”pjk3Zhz7PhfWBvKudwELMZaidAD6mxwg”]\u003c/p>\n\u003cp>“I will hunt my hunters down,” she sings. “Take back my broken crown / I will look them in the eye / Will not be the beast that hides / I will hunt my hunters down / This is not the end / Trouble will not take me in.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=C3B69-LeVCY&w=764&h=430]\u003c/p>\n\u003cp>Since her pop-up performances with an a cappella group at the Women’s March in D.C. last January, MILCK has signed with Atlantic Records. Last fall she released a new version of “Quiet,” saying she had originally intended to put it out this year but decided to drop it early because of the flood of stories about sexual harassment and assault.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VCYweWXph_U\u003c/p>\n\u003cp>“In light of the Harvey Weinstein scandals sparking a massive movement of women and survivors speaking out against sexual assault,” she said in an official statement, “I find myself in awe and moved to my core. Since the age of 14 I’ve survived several acts of sexual assault. For years, I blamed myself and secretly carried the shame.” MILCK says she eventually wrote “Quiet” when she realized she deserved to heal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>MILCK’s debut EP, \u003c/em>This Is Not The End\u003cem>, is due out Jan. 19 on Atlantic.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MILCK%2C+Singer+Behind+Women%27s+March+Anthem%2C+Returns+With+New+Rallying+Cry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”79oXVmZwflNIO6aIMLgO6FLujd5GvFQe”]\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\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=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\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=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 12:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>After publishing images of a visit to Japan’s “suicide forest” that included footage of a dead body, YouTube star Logan Paul is apologizing — and critics are denouncing both the video and Logan’s behavior in it. The video was watched millions of times before he removed it.\u003c/p>\n\u003cp>“I didn’t do it for views. I get views,” \u003ca href=\"https://twitter.com/LoganPaul/status/948026294066864128\" target=\"_blank\" rel=\"noopener\">said Paul,\u003c/a> who has some 15 million YouTube subscribers. “I did it because I thought I could make a positive ripple on the internet, not cause a monsoon of negativity. That’s never the intention.”\u003c/p>\n\u003cp>The video was filmed in the Aokigahara forest at the edge of Mount Fuji, an area that for years has been famous for its popularity among people who want to carry out a suicide. In his video, Paul blurred out the face of the person who had died, but he showed other parts of the body as he and his friends stood near it and talked.\u003c/p>\n\u003cp>Intended or not, an intense backlash has hit Paul, including calls for YouTube to remove his channel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The negative feedback included a tweet from actress and online video veteran Anna Akana, who lost her sister, Kristina, to suicide 10 years ago.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AnnaAkana/status/948080312159895552\" target=\"_blank\" rel=\"noopener\">Akana wrote\u003c/a>:\u003c/p>\n\u003cp>“Dear @LoganPaul, When my brother found my sister’s body, he screamed with horror & confusion & grief & tried to save her. That body was a person someone loved. You do not walk into a suicide forest with a camera and claim mental health awareness.”\u003c/p>\n\u003cp>Akana was responding to Paul’s attempt at an apology, in which he wrote, “I intended to raise awareness for suicide and suicide prevention and while I thought ‘if this video saves just ONE life, it’ll be worth it,’ I was misguided by shock and awe, as portrayed in the video. I still am.”\u003c/p>\n\u003cp>An edited version of the video was later \u003ca href=\"https://twitter.com/JhbTeam/status/948003235310157824\" target=\"_blank\" rel=\"noopener\">posted to Twitter\u003c/a>; it does not include footage of the body. Rather, it shows some of Paul’s reactions and comments.\u003c/p>\n\u003cp>YouTube says that Paul’s video violates its policies against presenting violent or gory content in a way that is sensational or disrespectful.\u003c/p>\n\u003cp>When contacted by NPR, a YouTube spokesperson said, “Our hearts go out to the family of the person featured in the video.”\u003c/p>\n\u003cp>The site confirms that Logan Paul took the video down. It also notes that it works with the National Suicide Prevention Lifeline — and that it displays suicide prevention resources at the top of the results for YouTube searches related to suicide.\u003c/p>\n\u003cp>Paul said that he had “demonetized” the video, which included a segment in the parking lot near the forest in which he told viewers that his laughter and attempts at humor were a coping mechanism after seeing the body. He had initially cast the outing as an attempt to look for ghosts — but the Aokigahara’s reputation as a suicide hotspot is well-known. It was the subject of \u003ca href=\"https://www.youtube.com/watch?v=4FDSdg09df8\" target=\"_blank\" rel=\"noopener\">a Vice documentary\u003c/a> in 2012, for instance.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.theverge.com/2018/1/2/16840176/logan-paul-suicide-video-apology-aokigahara-forest\" target=\"_blank\" rel=\"noopener\">The Verge reports:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“The group’s guide phones the police while they approach the body, shouting ‘Yo, are you alive, are you fooling with us?’ They film the apparent suicide victim up close, blurring his face but showing his hands, clothes, and abandoned bag. Paul then talks to the camera, saying: ‘Suicide is not a joke. Depression and mental illnesses are not a joke. We came here with an intent to focus on the haunted aspect of the forest. This just became very real.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those sentiments did little to ease the criticism from actor Aaron Paul, who \u003ca href=\"https://twitter.com/aaronpaul_8/status/948032944408444928\" target=\"_blank\" rel=\"noopener\">said in a tweet\u003c/a>, “Dear @LoganPaul, How dare you! You disgust me. I can’t believe that so many young people look up to you. So sad. Hopefully this latest video woke them up. You are pure trash. Plain and simple. Suicide is not a joke. Go rot in hell.”\u003c/p>\n\u003cp>YouTube star Laci Green wrote, “logan paul exploiting a suicide victim in Japan to the tune of 6M+ views while youtube demonetizes students protesting in Iran is a perfect example of what a sociopathic garbage fire youtube has become. this industry has no soul left. byeee.”\u003c/p>\n\u003cp>On Tuesday, Logan Paul \u003ca href=\"https://twitter.com/LoganPaul/status/948233761665171456\" target=\"_blank\" rel=\"noopener\">released a video apology\u003c/a> saying that the encounter in the forest had been unplanned, adding, “I should have never posted the video; I should have put the cameras down, stopped recording what we were going through. There’s a lot of things I should have done differently, but I didn’t. And for that, from the bottom of my heart, I am sorry.”\u003c/p>\n\u003cp>The apologies come as Paul has also been criticized for mocking Japanese culture during his visit to the country. At the end of the first of those videos shot in Japan, Paul said, “Literally this place is content gold.”\u003c/p>\n\u003cp>The day before he published the suicide forest video, Logan Paul had written on Twitter, “tomorrow’s vlog will be the craziest and most real video I’ve ever uploaded.”\u003c/p>\n\u003cp>Japan’s suicide rate is one of the highest among developed nations. In the U.S., the rate \u003ca href=\"https://www.cdc.gov/nchs/products/databriefs/db241.htm\" target=\"_blank\" rel=\"noopener\">has been climbing since 2000\u003c/a> — with the biggest increase seen in girls who are 10-14 years old, the Centers for Disease Control and Prevention said last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://suicidepreventionlifeline.org/talk-to-someone-now/\" target=\"_blank\" rel=\"noopener\">National Suicide Prevention Lifeline\u003c/a> is a resource for people who are “thinking about suicide, are worried about a friend or loved one, or would like emotional support.” The free and confidential service is available in either English (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>) or Spanish (\u003ca href=\"tel:1-888-628-9454\">1-888-628-9454\u003c/a>). There is also a line tailored for veterans (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Logan+Paul%2C+YouTube+Star%2C+Apologizes+As+Critics+Slam+Video+Showing+Dead+Body&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Before publishing footage from Japan's \"suicide forest,\" Logan Paul said, \"tomorrow's vlog will be the craziest and most real video I've ever uploaded.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 12:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>After publishing images of a visit to Japan’s “suicide forest” that included footage of a dead body, YouTube star Logan Paul is apologizing — and critics are denouncing both the video and Logan’s behavior in it. The video was watched millions of times before he removed it.\u003c/p>\n\u003cp>“I didn’t do it for views. I get views,” \u003ca href=\"https://twitter.com/LoganPaul/status/948026294066864128\" target=\"_blank\" rel=\"noopener\">said Paul,\u003c/a> who has some 15 million YouTube subscribers. “I did it because I thought I could make a positive ripple on the internet, not cause a monsoon of negativity. That’s never the intention.”\u003c/p>\n\u003cp>The video was filmed in the Aokigahara forest at the edge of Mount Fuji, an area that for years has been famous for its popularity among people who want to carry out a suicide. In his video, Paul blurred out the face of the person who had died, but he showed other parts of the body as he and his friends stood near it and talked.\u003c/p>\n\u003cp>Intended or not, an intense backlash has hit Paul, including calls for YouTube to remove his channel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The negative feedback included a tweet from actress and online video veteran Anna Akana, who lost her sister, Kristina, to suicide 10 years ago.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AnnaAkana/status/948080312159895552\" target=\"_blank\" rel=\"noopener\">Akana wrote\u003c/a>:\u003c/p>\n\u003cp>“Dear @LoganPaul, When my brother found my sister’s body, he screamed with horror & confusion & grief & tried to save her. That body was a person someone loved. You do not walk into a suicide forest with a camera and claim mental health awareness.”\u003c/p>\n\u003cp>Akana was responding to Paul’s attempt at an apology, in which he wrote, “I intended to raise awareness for suicide and suicide prevention and while I thought ‘if this video saves just ONE life, it’ll be worth it,’ I was misguided by shock and awe, as portrayed in the video. I still am.”\u003c/p>\n\u003cp>An edited version of the video was later \u003ca href=\"https://twitter.com/JhbTeam/status/948003235310157824\" target=\"_blank\" rel=\"noopener\">posted to Twitter\u003c/a>; it does not include footage of the body. Rather, it shows some of Paul’s reactions and comments.\u003c/p>\n\u003cp>YouTube says that Paul’s video violates its policies against presenting violent or gory content in a way that is sensational or disrespectful.\u003c/p>\n\u003cp>When contacted by NPR, a YouTube spokesperson said, “Our hearts go out to the family of the person featured in the video.”\u003c/p>\n\u003cp>The site confirms that Logan Paul took the video down. It also notes that it works with the National Suicide Prevention Lifeline — and that it displays suicide prevention resources at the top of the results for YouTube searches related to suicide.\u003c/p>\n\u003cp>Paul said that he had “demonetized” the video, which included a segment in the parking lot near the forest in which he told viewers that his laughter and attempts at humor were a coping mechanism after seeing the body. He had initially cast the outing as an attempt to look for ghosts — but the Aokigahara’s reputation as a suicide hotspot is well-known. It was the subject of \u003ca href=\"https://www.youtube.com/watch?v=4FDSdg09df8\" target=\"_blank\" rel=\"noopener\">a Vice documentary\u003c/a> in 2012, for instance.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.theverge.com/2018/1/2/16840176/logan-paul-suicide-video-apology-aokigahara-forest\" target=\"_blank\" rel=\"noopener\">The Verge reports:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“The group’s guide phones the police while they approach the body, shouting ‘Yo, are you alive, are you fooling with us?’ They film the apparent suicide victim up close, blurring his face but showing his hands, clothes, and abandoned bag. Paul then talks to the camera, saying: ‘Suicide is not a joke. Depression and mental illnesses are not a joke. We came here with an intent to focus on the haunted aspect of the forest. This just became very real.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those sentiments did little to ease the criticism from actor Aaron Paul, who \u003ca href=\"https://twitter.com/aaronpaul_8/status/948032944408444928\" target=\"_blank\" rel=\"noopener\">said in a tweet\u003c/a>, “Dear @LoganPaul, How dare you! You disgust me. I can’t believe that so many young people look up to you. So sad. Hopefully this latest video woke them up. You are pure trash. Plain and simple. Suicide is not a joke. Go rot in hell.”\u003c/p>\n\u003cp>YouTube star Laci Green wrote, “logan paul exploiting a suicide victim in Japan to the tune of 6M+ views while youtube demonetizes students protesting in Iran is a perfect example of what a sociopathic garbage fire youtube has become. this industry has no soul left. byeee.”\u003c/p>\n\u003cp>On Tuesday, Logan Paul \u003ca href=\"https://twitter.com/LoganPaul/status/948233761665171456\" target=\"_blank\" rel=\"noopener\">released a video apology\u003c/a> saying that the encounter in the forest had been unplanned, adding, “I should have never posted the video; I should have put the cameras down, stopped recording what we were going through. There’s a lot of things I should have done differently, but I didn’t. And for that, from the bottom of my heart, I am sorry.”\u003c/p>\n\u003cp>The apologies come as Paul has also been criticized for mocking Japanese culture during his visit to the country. At the end of the first of those videos shot in Japan, Paul said, “Literally this place is content gold.”\u003c/p>\n\u003cp>The day before he published the suicide forest video, Logan Paul had written on Twitter, “tomorrow’s vlog will be the craziest and most real video I’ve ever uploaded.”\u003c/p>\n\u003cp>Japan’s suicide rate is one of the highest among developed nations. In the U.S., the rate \u003ca href=\"https://www.cdc.gov/nchs/products/databriefs/db241.htm\" target=\"_blank\" rel=\"noopener\">has been climbing since 2000\u003c/a> — with the biggest increase seen in girls who are 10-14 years old, the Centers for Disease Control and Prevention said last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://suicidepreventionlifeline.org/talk-to-someone-now/\" target=\"_blank\" rel=\"noopener\">National Suicide Prevention Lifeline\u003c/a> is a resource for people who are “thinking about suicide, are worried about a friend or loved one, or would like emotional support.” The free and confidential service is available in either English (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>) or Spanish (\u003ca href=\"tel:1-888-628-9454\">1-888-628-9454\u003c/a>). There is also a line tailored for veterans (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Logan+Paul%2C+YouTube+Star%2C+Apologizes+As+Critics+Slam+Video+Showing+Dead+Body&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2017 Has Been A Great Year For Women In TV",
"headTitle": "2017 Has Been A Great Year For Women In TV | KQED",
"content": "\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Female performers, producers and writers brought some amazing projects to screens this year, including \u003cem>The Handmaid's Tale, Better Things \u003c/em>and \u003cem>The Marvelous Mrs. Maisel.\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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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"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.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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