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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Westergren, the co-founder of Pandora who returned to the company’s chief executive seat last year after the \u003ca href=\"http://www.billboard.com/articles/business/7317933/pandora-tim-westergren-brian-mcandrews-executive-shakeup-behind-the-scenes\" target=\"_blank\" rel=\"noopener\">exit of Brian McAndrews\u003c/a>, is leaving the company he started over 17 years ago, it was announced this morning. He will resign his position as chief executive and exit the company’s board of directors.\u003c/p>\n\u003cp>“I believe Pandora is perfectly poised for its next chapter,” Westergren says in a statement regarding the move. Chief financial officer Naveen Chopra will assume the vacated seat until a replacement is found. The company also announced that chief marketing officer Nick Bartle and president Mike Herring will be leaving Pandora as well, and that Jason Hirschhorn, founder of the media aggregation company ReDEF and a former co-president of Myspace, would be appointed a director, and receive $40,000 and equity for his trouble.\u003c/p>\n\u003cp>Pandora has had a tumultuous few months in the boardroom; after securing $150 million in funding from private equity group KKR — and adding former AEG CEO Tim Leiweke as an independent director and advisor — it dropped that deal for a \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/09/532255970/siriusxm-invests-480-million-in-pandora\" target=\"_blank\" rel=\"noopener\">$480 million investment\u003c/a> from satellite broadcaster SiriusXM. SiriusXM also gained three seats on the company’s board in the deal.\u003c/p>\n\u003cp>The company’s stock has steadily declined over the past few years — from a high of $37.42 a share to $8.32 today — as Spotify and Apple Music have gained dominance in the digital listening market. Pandora offers two subscriptions: the cheaper Pandora Plus, which augments its radio service and removes ads, and Pandora Premium, its competitor to the on-demand services. However, it spent much of 2016 building Premium from the pieces of Rdio, which it acquired at the end of 2015 — losing precious time as the streaming market became ever more mainstream.\u003c/p>\n\u003cp>Westergren often shared his backstory as a musician \u003ca href=\"https://www.youtube.com/watch?v=Rb58FvEz2zo\" target=\"_blank\" rel=\"noopener\">“living out of a van”\u003c/a> before launching Pandora in 2000. (Once initial funding ran out, the company infamously asked its employees to work for free \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">for two years\u003c/a>.) From there, he helped direct the development of the Music Genome Project, a unique hybrid recommendation engine that utilized musicologists’ analyses of recordings in order to better recommend music to the service’s users. Before too long, Pandora became relatively synonymous with “radio on the internet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora’s competitor Spotify had no comment on Westergren’s departure; Warner Music Group, Universal Music Group and Sony Music — companies which Westergren spent much of 2016 repairing relationships with — did not immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong>, 10:58am, June 27: This article was updated with information from a financial filing released subsequent to the announcement of Westergren’s departure.\u003c/em> \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=Pandora+Co-Founder+And+CEO+Tim+Westergren+To+Step+Down&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tupac Shakur Biopic 'All Eyez On Me' Hit With Copyright Infringement Lawsuit",
"headTitle": "Tupac Shakur Biopic ‘All Eyez On Me’ Hit With Copyright Infringement Lawsuit | KQED",
"content": "\u003cp>A week after opening to a \u003ca href=\"https://www.rottentomatoes.com/m/all_eyez_on_me_2017/\">tepid\u003c/a> critical response and \u003ca href=\"http://www.complex.com/pop-culture/2017/06/jada-pinkett-smith-says-all-eyez-on-me-deeply-hurtful\" target=\"_blank\" rel=\"noopener\">accusations\u003c/a> of historical inaccuracies from actress Jada Pinkett Smith — as well as a \u003ca href=\"http://news.hiphopearly.com/all-eyez-on-me-gets-roasted-because-of-alleged-iphone-appearance/\" target=\"_blank\" rel=\"noopener\">misinterpreted Internet joke\u003c/a> that had many searching in vain for the appearance of an iPhone in the film — the Tupac Shakur biopic \u003cem>All Eyez On Me\u003c/em> has now been hit with a copyright infringement lawsuit.\u003c/p>\n\u003cp>The suit — filed today by Kevin Powell, a longtime pop culture writer, author, activist — accuses the film’s executive producers, screenwriters and distributors of cribbing from three cover stories on Shakur that Powell wrote for \u003cem>Vibe\u003c/em> during the height of Shakur’s career. \u003cem>[Disclosure: NPR Music published an article by Powell, a remembrance of the recently deceased rapper Prodigy, earlier today.]\u003c/em>\u003c/p>\n\u003cp>Powell addressed the suit \u003ca href=\"https://www.facebook.com/kevinpowellinbrooklyn/posts/10213323542862488?comment_id=10213323677825862¬if_t=comment_mention¬if_id=1498238887678816\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>, writing:\u003c/p>\n\u003cblockquote>\n\u003cp>“After viewing the movie twice in the past few days, it is clear that my exclusive \u003cem>Vibe\u003c/em> cover stories on Tupac Shakur (when he was alive), were lifted, without proper credit or compensation of any kind to me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The list of defendants includes executive producers James G. Robinson, L.T. Hutton, screenwriters Steven Bagatourian, Jeremy Haft and Eddie Gonzales, as well as Morgan Creek Productions, Lions Gate and Program Pictures. Director Benny Boom was not named in the suit. Powell is seeking a series of damages, including $180,000 for each “broadcast” of the film.\u003c/p>\n\u003cp>Lions Gate and Morgan Creek were not immediately available for comment on the allegations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \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=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A week after opening to a \u003ca href=\"https://www.rottentomatoes.com/m/all_eyez_on_me_2017/\">tepid\u003c/a> critical response and \u003ca href=\"http://www.complex.com/pop-culture/2017/06/jada-pinkett-smith-says-all-eyez-on-me-deeply-hurtful\" target=\"_blank\" rel=\"noopener\">accusations\u003c/a> of historical inaccuracies from actress Jada Pinkett Smith — as well as a \u003ca href=\"http://news.hiphopearly.com/all-eyez-on-me-gets-roasted-because-of-alleged-iphone-appearance/\" target=\"_blank\" rel=\"noopener\">misinterpreted Internet joke\u003c/a> that had many searching in vain for the appearance of an iPhone in the film — the Tupac Shakur biopic \u003cem>All Eyez On Me\u003c/em> has now been hit with a copyright infringement lawsuit.\u003c/p>\n\u003cp>The suit — filed today by Kevin Powell, a longtime pop culture writer, author, activist — accuses the film’s executive producers, screenwriters and distributors of cribbing from three cover stories on Shakur that Powell wrote for \u003cem>Vibe\u003c/em> during the height of Shakur’s career. \u003cem>[Disclosure: NPR Music published an article by Powell, a remembrance of the recently deceased rapper Prodigy, earlier today.]\u003c/em>\u003c/p>\n\u003cp>Powell addressed the suit \u003ca href=\"https://www.facebook.com/kevinpowellinbrooklyn/posts/10213323542862488?comment_id=10213323677825862¬if_t=comment_mention¬if_id=1498238887678816\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>, writing:\u003c/p>\n\u003cblockquote>\n\u003cp>“After viewing the movie twice in the past few days, it is clear that my exclusive \u003cem>Vibe\u003c/em> cover stories on Tupac Shakur (when he was alive), were lifted, without proper credit or compensation of any kind to me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The list of defendants includes executive producers James G. Robinson, L.T. Hutton, screenwriters Steven Bagatourian, Jeremy Haft and Eddie Gonzales, as well as Morgan Creek Productions, Lions Gate and Program Pictures. Director Benny Boom was not named in the suit. Powell is seeking a series of damages, including $180,000 for each “broadcast” of the film.\u003c/p>\n\u003cp>Lions Gate and Morgan Creek were not immediately available for comment on the allegations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \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=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Peter Tosh's Son Beaten Into Coma in New Jersey Jail",
"headTitle": "Peter Tosh’s Son Beaten Into Coma in New Jersey Jail | KQED",
"content": "\u003cp>The family of legendary reggae artist Peter Tosh is filing a civil rights lawsuit and seeking a U.S. Department of Justice investigation after Tosh’s son, 37-year-old Jawara McIntosh — himself a musician and marijuana legalization activist — was left in a coma after being beaten while in the custody of the Bergen County Jail in New Jersey four months ago.\u003c/p>\n\u003cp>According to McIntosh’s family, the beating occurred on Feb. 21; the resulting brain injuries were so severe that he has been comatose ever since. He was first hospitalized at New Jersey’s Hackensack Medical Center and has since been moved to a hospital in Massachusetts, where he resides.\u003c/p>\n\u003cp>McIntosh’s family says that they learned of the beating when his mother, Melody Cunningham, received a call from the Hackensack hospital saying McIntosh needed a “life-saving medical procedure” after being attacked at the jail. Niambe McIntosh, Jawara’s sister, tells NPR today that their mother then received a call from the jail’s warden, saying that the incident involved another inmate.\u003c/p>\n\u003cp>Niambe McIntosh adds, “We have since, upon request, got an incident report that just didn’t really give a lot of information, but it just said there was another inmate [involved]. There was very little detail as to what happened.”\u003c/p>\n\u003cp>The family has announced that they are seeking to file a civil rights lawsuit against the county and the jail “for failing to protect Jawara while he was in its custody, or directly participating in this brutal beating.” The family is being represented by attorney Jasmine Rand, who has in the past represented the families of Trayvon Martin and Michael Brown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They are also seeking the immediate release of additional information and evidence from the incident, and have sent a request to the federal Department of Justice asking for an impartial investigation into what transpired at the jail.\u003c/p>\n\u003cp>A spokesman for the Bergen County sheriff’s office told NPR this afternoon that there was no statement immediately forthcoming, but there “may” be one issued later.\u003c/p>\n\u003cp>A statement from the family \u003ca href=\"http://petertosh.com/justice-for-jawara/\" target=\"_blank\" rel=\"noopener\">asserts\u003c/a> that Jawara McIntosh is “presently unable to speak or use any form of communication; nor is he able to move with intent.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zkp7Q70hXtg\u003c/p>\n\u003cp>McIntosh is the father of four children, ranging in age from 6 to 11, and as an artist performs under the name Tosh1. He is also a longtime advocate for the legalization of cannabis. Like his father, McIntosh is a practicing Rastafarian; within the religion, cannabis is considered sacred.\u003c/p>\n\u003cp>Peter Tosh, was, along with Bob Marley and Bunny Wailer, one of the founding members of The Wailers; Marley and Tosh co-wrote the anthemic “Get Up Stand Up.” As a solo artist, Tosh wrote and recorded 1976’s \u003ca href=\"https://www.youtube.com/watch?v=ABc8ciT5QLs\" target=\"_blank\" rel=\"noopener\">“Legalize It”\u003c/a> — a song that McIntosh also frequently performed.\u003c/p>\n\u003cp>At the time of the attack, McIntosh was about two months into serving a six-month sentence, after pleading guilty to marijuana possession. In a phone call today with NPR, Jasmine Rand said that before this arrest and sentencing, McIntosh had no prior criminal record.\u003c/p>\n\u003cp>Rand also asserts, “To me, it was completely egregious that Bergen County Jail had really not provided them any information how it had transpired. They were not forthcoming with evidence. They had not provided any video, any audio, any photographs, or really told the family exactly how it is that while in their custody, Jawara was so violently beaten to a point where he’s now been in a coma for four months.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>“We are also working with the family,” Rand says, “on a larger legalization effort. As we know, many states have decriminalized or legalized cannabis — and there are far too many people in this nation that are imprisoned on cannabis charges, resulting in mass incarceration, police brutality, murder and, in this case, has left Jawara in a coma. So the issue that the Tosh family is facing is not an isolated issue. It’s an issue that are nation is facing.”\u003c/p>\n\u003cp>“And as we continue to decriminalize cannabis,” Rand continues, “we need to look at what happens with prisoners. We need to look at record expungement, restoration of voting rights. The family of Peter Tosh, Jawara’s family, are very committed to protecting not just Jawara’s rights, but rights of other people throughout this nation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a video posted yesterday, the family wrote: “40 years ago, our father began the fight to legalize cannabis and despite its medicinal value and many states completely legalizing it, some states are still clinging to antiquated laws and a broken criminal justice system to deal with it. This is criminal. We can’t be bystanders any longer.” \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/222620226\u003cbr>\n\u003c/aside>\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=Peter+Tosh%27s+Son+Beaten+Into+Coma+In+New+Jersey+Jail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The family of legendary reggae artist Peter Tosh is filing a civil rights lawsuit and seeking a U.S. Department of Justice investigation after Tosh’s son, 37-year-old Jawara McIntosh — himself a musician and marijuana legalization activist — was left in a coma after being beaten while in the custody of the Bergen County Jail in New Jersey four months ago.\u003c/p>\n\u003cp>According to McIntosh’s family, the beating occurred on Feb. 21; the resulting brain injuries were so severe that he has been comatose ever since. He was first hospitalized at New Jersey’s Hackensack Medical Center and has since been moved to a hospital in Massachusetts, where he resides.\u003c/p>\n\u003cp>McIntosh’s family says that they learned of the beating when his mother, Melody Cunningham, received a call from the Hackensack hospital saying McIntosh needed a “life-saving medical procedure” after being attacked at the jail. Niambe McIntosh, Jawara’s sister, tells NPR today that their mother then received a call from the jail’s warden, saying that the incident involved another inmate.\u003c/p>\n\u003cp>Niambe McIntosh adds, “We have since, upon request, got an incident report that just didn’t really give a lot of information, but it just said there was another inmate [involved]. There was very little detail as to what happened.”\u003c/p>\n\u003cp>The family has announced that they are seeking to file a civil rights lawsuit against the county and the jail “for failing to protect Jawara while he was in its custody, or directly participating in this brutal beating.” The family is being represented by attorney Jasmine Rand, who has in the past represented the families of Trayvon Martin and Michael Brown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They are also seeking the immediate release of additional information and evidence from the incident, and have sent a request to the federal Department of Justice asking for an impartial investigation into what transpired at the jail.\u003c/p>\n\u003cp>A spokesman for the Bergen County sheriff’s office told NPR this afternoon that there was no statement immediately forthcoming, but there “may” be one issued later.\u003c/p>\n\u003cp>A statement from the family \u003ca href=\"http://petertosh.com/justice-for-jawara/\" target=\"_blank\" rel=\"noopener\">asserts\u003c/a> that Jawara McIntosh is “presently unable to speak or use any form of communication; nor is he able to move with intent.”\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/zkp7Q70hXtg'\n title='//www.youtube.com/embed/zkp7Q70hXtg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McIntosh is the father of four children, ranging in age from 6 to 11, and as an artist performs under the name Tosh1. He is also a longtime advocate for the legalization of cannabis. Like his father, McIntosh is a practicing Rastafarian; within the religion, cannabis is considered sacred.\u003c/p>\n\u003cp>Peter Tosh, was, along with Bob Marley and Bunny Wailer, one of the founding members of The Wailers; Marley and Tosh co-wrote the anthemic “Get Up Stand Up.” As a solo artist, Tosh wrote and recorded 1976’s \u003ca href=\"https://www.youtube.com/watch?v=ABc8ciT5QLs\" target=\"_blank\" rel=\"noopener\">“Legalize It”\u003c/a> — a song that McIntosh also frequently performed.\u003c/p>\n\u003cp>At the time of the attack, McIntosh was about two months into serving a six-month sentence, after pleading guilty to marijuana possession. In a phone call today with NPR, Jasmine Rand said that before this arrest and sentencing, McIntosh had no prior criminal record.\u003c/p>\n\u003cp>Rand also asserts, “To me, it was completely egregious that Bergen County Jail had really not provided them any information how it had transpired. They were not forthcoming with evidence. They had not provided any video, any audio, any photographs, or really told the family exactly how it is that while in their custody, Jawara was so violently beaten to a point where he’s now been in a coma for four months.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>“We are also working with the family,” Rand says, “on a larger legalization effort. As we know, many states have decriminalized or legalized cannabis — and there are far too many people in this nation that are imprisoned on cannabis charges, resulting in mass incarceration, police brutality, murder and, in this case, has left Jawara in a coma. So the issue that the Tosh family is facing is not an isolated issue. It’s an issue that are nation is facing.”\u003c/p>\n\u003cp>“And as we continue to decriminalize cannabis,” Rand continues, “we need to look at what happens with prisoners. We need to look at record expungement, restoration of voting rights. The family of Peter Tosh, Jawara’s family, are very committed to protecting not just Jawara’s rights, but rights of other people throughout this nation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a video posted yesterday, the family wrote: “40 years ago, our father began the fight to legalize cannabis and despite its medicinal value and many states completely legalizing it, some states are still clinging to antiquated laws and a broken criminal justice system to deal with it. This is criminal. We can’t be bystanders any longer.” \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/222620226\u003cbr>\n\u003c/aside>\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=Peter+Tosh%27s+Son+Beaten+Into+Coma+In+New+Jersey+Jail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every so often, brightly lit Hollywood comedies set in West Coast mansions will slip in five minutes of light-relief banter between a Latina housekeeper and her wealthy white liberal boss. Mild joshing ensues about the cluelessness or prejudice of the employer, perhaps with a good-natured roll of the maid’s eyes thrown in. That done, everyone slips back into their assigned slots in the social pecking order. Point taken, but not really.\u003c/p>\n\u003cp>\u003cem>Beatriz at Dinner\u003c/em>, a new collaboration between director Miguel Arteta and screenwriter Mike White (\u003cem>The Good Girl\u003c/em>, \u003cem>Chuck & Buck\u003c/em>, among others), is not that banter or that movie. The Mexican-born Beatriz, played with restraint by a deglamorized and slyly tamped down Salma Hayek, is not a housekeeper. She’s a healer with her own business and a gentle, spiritual soul. An apparent ingénue in sensible jeans and adolescent bangs, Beatriz keeps goats in her Altadena apartment and wonders why the neighbors complain. She’s funny and anachronistic in context, but she’s not being laughed at, at least not by the filmmakers, who bring Beatriz front and center in a black comedy of manners with an earnest undertow that places ethnic and class inequality on an audacious continuum with wanton environmental destruction.\u003c/p>\n\u003cp>Invited to dinner when her car breaks down at the Newport Beach McMansion of her client, Kathy (a very good Connie Britton), Beatriz takes it on trust when Kathy introduces her as “my dearest friend” to a small group of well-heeled guests assembled to celebrate a commercial takeover of protected land they’re about to turn into millions in hard cash. Despite barely suppressed sneering from the visitors, played by Chloe Sevigny along with \u003cem>Transparent\u003c/em>‘s Amy Landecker, Jay Duplass and John Lithgow, Beatriz and Kathy begin the evening believing in their friendship. The train wreck that follows — hilarious with a growing edge of sinister — will strip away everyone’s illusions on that score, and a few others.\u003c/p>\n\u003cp>With hardly a raised voice, the air soon fills with poison. Arteta directs with irreverent brio mixed with a somber touch, but \u003cem>Beatriz at Dinner\u003c/em> is (almost) all talk, and dependent on the crisply funny dialogue that keeps taking left turns into the unexpected. White is always on the side of the marginal and the dispossessed, but he likes to throw us off our game a bit so we don’t just go home smugly confident that we’ve done our bit for justice and empathy. Beatriz, like the others, walks a purposefully confounding line between naturalism and caricature. She hugs everyone on sight, offers free treatments all around, and asks Kathy’s incredulous husband to bring her a glass of wine. But though she’s getting drunker by the minute, Beatriz is also an astute observer whose reflexive desire to please wanes visibly as she mixes it up with the wonderfully named Doug Strutt, a cocksure, Trump-like developer played with delicious glee by Lithgow, whom she thinks she recognizes from her childhood in Mexico, when her family, community, and habitat were destroyed by a corporate predator.\u003c/p>\n\u003cp>War is declared, and Doug and Beatriz perform a rivetingly complicated \u003cem>pas de deux\u003c/em> that pitches his boorish charm against the coiled ferocity that grows within the unwanted guest. Is Doug, who knows what he is and is frank about fiddling while Rome burns, the enemy here? Perhaps, but the target at the bullseye’s center is the liberal elite itself, nice enough self-deceivers like Kathy who commit daily hypocrisies while persuading themselves they’ve conquered prejudice, yet who flee in terror when confronted with contradiction and pushback. It’s Kathy’s abrupt withdrawal from her “friend” and her panicked attempt to revert to patroness that really cuts, and carries the action from wicked comedy into potent melodrama. In the movie’s several startling endings you may see a horror story or a Greek tragedy unfolding. \u003cem>Beatriz at Dinner\u003c/em> is also a love story that restores agency to a woman who has lost all, and asks us to take a hard look at our own. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every so often, brightly lit Hollywood comedies set in West Coast mansions will slip in five minutes of light-relief banter between a Latina housekeeper and her wealthy white liberal boss. Mild joshing ensues about the cluelessness or prejudice of the employer, perhaps with a good-natured roll of the maid’s eyes thrown in. That done, everyone slips back into their assigned slots in the social pecking order. Point taken, but not really.\u003c/p>\n\u003cp>\u003cem>Beatriz at Dinner\u003c/em>, a new collaboration between director Miguel Arteta and screenwriter Mike White (\u003cem>The Good Girl\u003c/em>, \u003cem>Chuck & Buck\u003c/em>, among others), is not that banter or that movie. The Mexican-born Beatriz, played with restraint by a deglamorized and slyly tamped down Salma Hayek, is not a housekeeper. She’s a healer with her own business and a gentle, spiritual soul. An apparent ingénue in sensible jeans and adolescent bangs, Beatriz keeps goats in her Altadena apartment and wonders why the neighbors complain. She’s funny and anachronistic in context, but she’s not being laughed at, at least not by the filmmakers, who bring Beatriz front and center in a black comedy of manners with an earnest undertow that places ethnic and class inequality on an audacious continuum with wanton environmental destruction.\u003c/p>\n\u003cp>Invited to dinner when her car breaks down at the Newport Beach McMansion of her client, Kathy (a very good Connie Britton), Beatriz takes it on trust when Kathy introduces her as “my dearest friend” to a small group of well-heeled guests assembled to celebrate a commercial takeover of protected land they’re about to turn into millions in hard cash. Despite barely suppressed sneering from the visitors, played by Chloe Sevigny along with \u003cem>Transparent\u003c/em>‘s Amy Landecker, Jay Duplass and John Lithgow, Beatriz and Kathy begin the evening believing in their friendship. The train wreck that follows — hilarious with a growing edge of sinister — will strip away everyone’s illusions on that score, and a few others.\u003c/p>\n\u003cp>With hardly a raised voice, the air soon fills with poison. Arteta directs with irreverent brio mixed with a somber touch, but \u003cem>Beatriz at Dinner\u003c/em> is (almost) all talk, and dependent on the crisply funny dialogue that keeps taking left turns into the unexpected. White is always on the side of the marginal and the dispossessed, but he likes to throw us off our game a bit so we don’t just go home smugly confident that we’ve done our bit for justice and empathy. Beatriz, like the others, walks a purposefully confounding line between naturalism and caricature. She hugs everyone on sight, offers free treatments all around, and asks Kathy’s incredulous husband to bring her a glass of wine. But though she’s getting drunker by the minute, Beatriz is also an astute observer whose reflexive desire to please wanes visibly as she mixes it up with the wonderfully named Doug Strutt, a cocksure, Trump-like developer played with delicious glee by Lithgow, whom she thinks she recognizes from her childhood in Mexico, when her family, community, and habitat were destroyed by a corporate predator.\u003c/p>\n\u003cp>War is declared, and Doug and Beatriz perform a rivetingly complicated \u003cem>pas de deux\u003c/em> that pitches his boorish charm against the coiled ferocity that grows within the unwanted guest. Is Doug, who knows what he is and is frank about fiddling while Rome burns, the enemy here? Perhaps, but the target at the bullseye’s center is the liberal elite itself, nice enough self-deceivers like Kathy who commit daily hypocrisies while persuading themselves they’ve conquered prejudice, yet who flee in terror when confronted with contradiction and pushback. It’s Kathy’s abrupt withdrawal from her “friend” and her panicked attempt to revert to patroness that really cuts, and carries the action from wicked comedy into potent melodrama. In the movie’s several startling endings you may see a horror story or a Greek tragedy unfolding. \u003cem>Beatriz at Dinner\u003c/em> is also a love story that restores agency to a woman who has lost all, and asks us to take a hard look at our own. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1959, the peak of his playing years, \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a> did something he’d never done before: record music for a film. Released in the U.S. as \u003cem>Dangerous Liaisons\u003c/em>, the French film \u003cem>Les Liaisons Dangereuses\u003c/em> featured nearly 30 minutes of Monk’s music, none of which ever made it to a record. But the master tapes resurfaced last year, and were first released as a vinyl exclusive on Record Store Day this April. The music collected in \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a discovery that offers fresh perspective on the jazz visionary’s heyday.\u003c/p>\n\u003cp>Monk — as well as \u003ca href=\"http://www.npr.org/artists/14996546/art-blakey\" target=\"_blank\" rel=\"noopener\">Art Blakey\u003c/a>‘s Jazz Messengers — came on board \u003cem>Dangerous Liaisons\u003c/em> in 1959 thanks to music supervisor Marcel Romano. Romano had also hired \u003ca href=\"http://www.npr.org/artists/15368370/miles-davis\" target=\"_blank\" rel=\"noopener\">Miles Davis\u003c/a> the year before to improvise the shadowy soundtrack to \u003cem>Elevator To The Gallows\u003c/em>, thus driving jazz’s brief but torrid fling with French cinema in the late 1950s. An adaptation of an 18th-century French novel, \u003cem>Dangerous Liaisons\u003c/em> was a hit in Europe, but proved controversial in the U.S. because of its twisted love plot. Monk’s angular, questioning music helped supply an undercurrent of tension.\u003c/p>\n\u003cp>Monk laid down the music for the film on July 27, 1959. Romano had prepared a list of cues — they only had a day to record, and the pressure was on. But those plans went out of the window almost immediately, as Monk and his crew ripped through some of his well-known compositions. The playing throughout \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is lively and spirited — Monk scampers around the piano, finding delight in every register, jabbing at chords in ways that jolt his rhythm section. And occasionally, he takes a few left turns, among them a tender rendition of the hymn “We’ll Understand It Better By And By.”\u003c/p>\n\u003cp>There’s no clear explanation for why this music wasn’t released at the time, though contractual glitches might have something to do with it. This soundtrack doesn’t rewrite history — few vault discoveries do. But as a crisp studio recording of Monk playing both high-wire solos and small-group pieces, \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a rare find. It also allows listeners to better appreciate Monk’s creative genius at a time when his idiosyncratic notions about sound and improvisation were expanding the discourse of jazz. Though \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>was in some ways a departure for Monk, he was still doing what he had always done: chasing brilliance like it was nothing. \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=Newly+Uncovered+Recordings+Find+Thelonious+Monk+In+His+Prime&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1959, the peak of his playing years, \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a> did something he’d never done before: record music for a film. Released in the U.S. as \u003cem>Dangerous Liaisons\u003c/em>, the French film \u003cem>Les Liaisons Dangereuses\u003c/em> featured nearly 30 minutes of Monk’s music, none of which ever made it to a record. But the master tapes resurfaced last year, and were first released as a vinyl exclusive on Record Store Day this April. The music collected in \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a discovery that offers fresh perspective on the jazz visionary’s heyday.\u003c/p>\n\u003cp>Monk — as well as \u003ca href=\"http://www.npr.org/artists/14996546/art-blakey\" target=\"_blank\" rel=\"noopener\">Art Blakey\u003c/a>‘s Jazz Messengers — came on board \u003cem>Dangerous Liaisons\u003c/em> in 1959 thanks to music supervisor Marcel Romano. Romano had also hired \u003ca href=\"http://www.npr.org/artists/15368370/miles-davis\" target=\"_blank\" rel=\"noopener\">Miles Davis\u003c/a> the year before to improvise the shadowy soundtrack to \u003cem>Elevator To The Gallows\u003c/em>, thus driving jazz’s brief but torrid fling with French cinema in the late 1950s. An adaptation of an 18th-century French novel, \u003cem>Dangerous Liaisons\u003c/em> was a hit in Europe, but proved controversial in the U.S. because of its twisted love plot. Monk’s angular, questioning music helped supply an undercurrent of tension.\u003c/p>\n\u003cp>Monk laid down the music for the film on July 27, 1959. Romano had prepared a list of cues — they only had a day to record, and the pressure was on. But those plans went out of the window almost immediately, as Monk and his crew ripped through some of his well-known compositions. The playing throughout \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is lively and spirited — Monk scampers around the piano, finding delight in every register, jabbing at chords in ways that jolt his rhythm section. And occasionally, he takes a few left turns, among them a tender rendition of the hymn “We’ll Understand It Better By And By.”\u003c/p>\n\u003cp>There’s no clear explanation for why this music wasn’t released at the time, though contractual glitches might have something to do with it. This soundtrack doesn’t rewrite history — few vault discoveries do. But as a crisp studio recording of Monk playing both high-wire solos and small-group pieces, \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a rare find. It also allows listeners to better appreciate Monk’s creative genius at a time when his idiosyncratic notions about sound and improvisation were expanding the discourse of jazz. Though \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>was in some ways a departure for Monk, he was still doing what he had always done: chasing brilliance like it was nothing. \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=Newly+Uncovered+Recordings+Find+Thelonious+Monk+In+His+Prime&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There is a certain kind of look I get when I tell people how much I love video games.\u003c/p>\n\u003cp>It lies somewhere between “You’re not serious” and “Oh my God, you are serious.” And by “people” giving me these looks, I mean adults of a certain age and outlook. Of course, given that I’m a 54-year-old tenured professor, these “people” are pretty much everyone I know (including my now adult children).\u003c/p>\n\u003cp>So today, I want to speak to all of you “look-givers” and attempt to explain why you, too, should become a gamer.\u003c/p>\n\u003cp>Basically, it comes down to robot dinosaurs.\u003c/p>\n\u003cp>I am just about to finish an amazing game called Horizon: Zero Dawn. I’ve been in its world, working my way through its story, for the last six months. In this experience, I’ve encountered all the great things a great game has to offer. This includes, but is not exhausted by, fighting robot dinosaurs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now wait. Just wait before you click away to that in-depth analysis of President Trump’s most recent tweet. Give me a minute to explain.\u003c/p>\n\u003cp>First of all, there are lots of different meanings for the term “video game,” and many of these hold no interest for me. There are the “\u003ca href=\"https://www.youtube.com/watch?v=rLl9XBg7wSs\">platformers\u003c/a>” like Mario Brothers, which are really \u003cem>just\u003c/em> games. Their concept is simple and you basically do the same thing over and over again, which is fun if you’re into it. But I’m not.\u003c/p>\n\u003cp>There are also the multiplayer first person shooter (FPS) kinds of games, where you “spawn” into the game’s terrain (a “map”), and then you fight against other real people playing the game. These are mostly, probably 13-year-olds in Korea or Kansas who are much, much better than you. That means you’ll probably spend a lot of time just dying. This is not the kind of game I want you to try either.\u003c/p>\n\u003cp>See, the kind of game I want you to try is the one with a story — a good, long, intricate story. And that story should be set in a wide-ranging and intricately imagined world. And just as important, that world should be brought to life through the eyes of an artist. That may mean a visual hyper-realism that leaves your jaw permanently dropped, or it can be an impressionism that serves the story at subtler levels.\u003c/p>\n\u003cp>And, yes, it will also be cool if there are robot dinosaurs.\u003c/p>\n\u003cp>So \u003ca href=\"https://www.youtube.com/watch?v=T5Xx3MdqdgM\" target=\"_blank\" rel=\"noopener\">Horizon: Zero Dawn\u003c/a> is what’s called an RPG (role playing game). An RPG basically means you play as the central character in the game’s story. For Horizon: Zero Dawn, the story is a hybrid, lying somewhere between science fiction, post-apocalypse tale and sword and sandal drama. It takes place 1,000 years after our civilization has fallen. This new world has been reclaimed by nature in the most beautiful, verdant way imaginable, except for one addition: robot dinosaurs (which, OK, might not really be robot dinosaurs but robot animals.) These machines, until recently, had been pretty docile.\u003c/p>\n\u003cp>The main character — a young woman named Aloy — begins the story as an outcast in a primitive tribe but is given the task of venturing out into the world to find why “the machines” (as they are called) have suddenly become dangerous.\u003c/p>\n\u003cp>To answer that question, you have to follow Aloy’s journey by literally taking it on yourself. You will have decisions to make, battles to fight and discoveries to unveil. This is a lot like a great escapist novel you read on a long, lazy summer vacation — except in the game you get to be the protagonist.\u003c/p>\n\u003cp>Now, ultimately, it’s this story that makes Horizon: Zero Dawn a great game. It’s always the story that matters most. Technology alone can’t leap over that hurdle. The story in Horizon: Zero Dawn is well-crafted with engaging characters you like or hate, and it slowly peals itself away in a manner that is both surprising and satisfying.\u003c/p>\n\u003cp>But, on the other hand, if that were all there was to the game then it would be just a hyped-up novel. What makes this kind of video game worth your time is the immersion. That’s what makes it a new kind of experience reaching above the older narrative forms humanity has come up with.\u003c/p>\n\u003cp>Horizon: Zero Dawn is what’s called an “open world” game. That means that you can go pretty much anywhere in its extensive map. While you work your way through the story of Aloy and her fallen world, you can just stop and go off to explore anywhere you want. See those beautifully rendered mountains over there? Yeah, go climb them. There’s probably a giant robot bird-thing that will attack you. How about those islands on the other side of the lake? Wonder what’s over there?\u003c/p>\n\u003cp>And did I mention the art? The world of Horizon: Zero Dawn is so beautiful to look at that sometimes you have to just stop climbing or running or fighting and just look. The game artists managed to take the most beautiful aspects of a rainy meadow or a mountain pass and turn them up to 12. RPGs may demand a good story to start, but the world you inhabit derives its felt quality from that world’s art and design.\u003c/p>\n\u003cp>Now, I get it that you may not be interested in a game that includes fighting robot dinosaurs. That’s fine (sort of, I guess). There are other games with other kinds of stories. Some are heavy on investigation; others have more fighting. Choose what you like. The point is this: I spent six months slowly working my way around Aloy’s world and her story and, in the end, the whole experience was delightful and exciting and engaging.\u003c/p>\n\u003cp>But more than anything, it was a waste of time.\u003c/p>\n\u003cp>That might seem like a strange recommendation, but what I really mean is that it was a delicious waste of time. We live in a world of endless pressing concerns with so many competing avenues of being productive. A good game makes no demands other than the age-old pleasures of great story combined with the very modern possibilities of immersion. And none of it matters except the enjoyment of the doing.\u003c/p>\n\u003cp>That, I would argue, has real value.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adam Frank is a co-founder of the 13.7 blog, an astrophysics professor at the University of Rochester, a book author and a self-described “evangelist of science.” You can keep up with more of what Adam is thinking on \u003c/em>\u003ca href=\"https://www.facebook.com/AdamFrankAuthor\">Facebook\u003c/a> \u003cem>and Twitter: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\u003c/a> \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=Why+You+Should+Play+Video+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a certain kind of look I get when I tell people how much I love video games.\u003c/p>\n\u003cp>It lies somewhere between “You’re not serious” and “Oh my God, you are serious.” And by “people” giving me these looks, I mean adults of a certain age and outlook. Of course, given that I’m a 54-year-old tenured professor, these “people” are pretty much everyone I know (including my now adult children).\u003c/p>\n\u003cp>So today, I want to speak to all of you “look-givers” and attempt to explain why you, too, should become a gamer.\u003c/p>\n\u003cp>Basically, it comes down to robot dinosaurs.\u003c/p>\n\u003cp>I am just about to finish an amazing game called Horizon: Zero Dawn. I’ve been in its world, working my way through its story, for the last six months. In this experience, I’ve encountered all the great things a great game has to offer. This includes, but is not exhausted by, fighting robot dinosaurs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now wait. Just wait before you click away to that in-depth analysis of President Trump’s most recent tweet. Give me a minute to explain.\u003c/p>\n\u003cp>First of all, there are lots of different meanings for the term “video game,” and many of these hold no interest for me. There are the “\u003ca href=\"https://www.youtube.com/watch?v=rLl9XBg7wSs\">platformers\u003c/a>” like Mario Brothers, which are really \u003cem>just\u003c/em> games. Their concept is simple and you basically do the same thing over and over again, which is fun if you’re into it. But I’m not.\u003c/p>\n\u003cp>There are also the multiplayer first person shooter (FPS) kinds of games, where you “spawn” into the game’s terrain (a “map”), and then you fight against other real people playing the game. These are mostly, probably 13-year-olds in Korea or Kansas who are much, much better than you. That means you’ll probably spend a lot of time just dying. This is not the kind of game I want you to try either.\u003c/p>\n\u003cp>See, the kind of game I want you to try is the one with a story — a good, long, intricate story. And that story should be set in a wide-ranging and intricately imagined world. And just as important, that world should be brought to life through the eyes of an artist. That may mean a visual hyper-realism that leaves your jaw permanently dropped, or it can be an impressionism that serves the story at subtler levels.\u003c/p>\n\u003cp>And, yes, it will also be cool if there are robot dinosaurs.\u003c/p>\n\u003cp>So \u003ca href=\"https://www.youtube.com/watch?v=T5Xx3MdqdgM\" target=\"_blank\" rel=\"noopener\">Horizon: Zero Dawn\u003c/a> is what’s called an RPG (role playing game). An RPG basically means you play as the central character in the game’s story. For Horizon: Zero Dawn, the story is a hybrid, lying somewhere between science fiction, post-apocalypse tale and sword and sandal drama. 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It’s always the story that matters most. Technology alone can’t leap over that hurdle. The story in Horizon: Zero Dawn is well-crafted with engaging characters you like or hate, and it slowly peals itself away in a manner that is both surprising and satisfying.\u003c/p>\n\u003cp>But, on the other hand, if that were all there was to the game then it would be just a hyped-up novel. What makes this kind of video game worth your time is the immersion. That’s what makes it a new kind of experience reaching above the older narrative forms humanity has come up with.\u003c/p>\n\u003cp>Horizon: Zero Dawn is what’s called an “open world” game. That means that you can go pretty much anywhere in its extensive map. While you work your way through the story of Aloy and her fallen world, you can just stop and go off to explore anywhere you want. See those beautifully rendered mountains over there? Yeah, go climb them. There’s probably a giant robot bird-thing that will attack you. How about those islands on the other side of the lake? Wonder what’s over there?\u003c/p>\n\u003cp>And did I mention the art? The world of Horizon: Zero Dawn is so beautiful to look at that sometimes you have to just stop climbing or running or fighting and just look. The game artists managed to take the most beautiful aspects of a rainy meadow or a mountain pass and turn them up to 12. RPGs may demand a good story to start, but the world you inhabit derives its felt quality from that world’s art and design.\u003c/p>\n\u003cp>Now, I get it that you may not be interested in a game that includes fighting robot dinosaurs. That’s fine (sort of, I guess). There are other games with other kinds of stories. Some are heavy on investigation; others have more fighting. Choose what you like. The point is this: I spent six months slowly working my way around Aloy’s world and her story and, in the end, the whole experience was delightful and exciting and engaging.\u003c/p>\n\u003cp>But more than anything, it was a waste of time.\u003c/p>\n\u003cp>That might seem like a strange recommendation, but what I really mean is that it was a delicious waste of time. We live in a world of endless pressing concerns with so many competing avenues of being productive. A good game makes no demands other than the age-old pleasures of great story combined with the very modern possibilities of immersion. And none of it matters except the enjoyment of the doing.\u003c/p>\n\u003cp>That, I would argue, has real value.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adam Frank is a co-founder of the 13.7 blog, an astrophysics professor at the University of Rochester, a book author and a self-described “evangelist of science.” You can keep up with more of what Adam is thinking on \u003c/em>\u003ca href=\"https://www.facebook.com/AdamFrankAuthor\">Facebook\u003c/a> \u003cem>and Twitter: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\u003c/a> \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=Why+You+Should+Play+Video+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arguably, no single rock musician has had a greater ripple effect on both men’s and women’s fashion than Keith Richards. Things that shouldn’t have made sense — from Nudie suits and scarves as belts, to cheetah-prints and graphic striped trousers mixed with polka dots — always looked effortless on him. Unbeknownst to many at the time, it was Anita Pallenberg’s closet from which Richard was pulling.\u003c/p>\n\u003cp>“As a kid I wanted to dress like Keith Richards, I wasn’t at all interested in women’s fashion, it was guys in bands I wanted to emulate,” British designer Pamela Hogg tells NPR Music. “But it was a long time before I realized Anita was behind all these great looks, they couldn’t help but be influenced by her amazing sense of style, it was contagious.” She and Pallenberg would eventually connect in a coffee shop in Paris in the 1980’s, and their friendship would result in Pallenberg walking Hogg’s runway during London Fashion Week in 2016.\u003c/p>\n\u003cp>When Pallenberg, a German-Italian actress and model, died last week at 73 she was remembered foremost, if headlines are any guide, as The Rolling Stones’ “muse and rock-star girlfriend of Keith Richards. She was, clearly, much more than that — an icon and creator in her own right, the baddest of the bad girls, an incendiary force who helped the Stones \u003cem>become \u003c/em>the Stones. Pallenberg was the one who shook the shy, awkward schoolboys out of the band’s system and helped extricate their inner outlaws. The truth is, it’s hard to imagine what the Rolling Stones would have would have looked like had Pallenberg never made her way backstage at a show in 1965.\u003c/p>\n\u003cfigure id=\"attachment_13478982\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg\" alt=\"Keith Richards with Anita Pallenberg in 1970.\" width=\"800\" height=\"1066\" class=\"size-medium wp-image-13478982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Richards with Anita Pallenberg in 1970. \u003ccite>(Mark and Colleen Hayward/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she moved into an apartment with then-guitarist Brian Jones in 1966, The Rolling Stones had ditched its matching houndstooth coats for a mix of tailored blazers, skinny ties, slacks and polo shirts, in an attempt to out-fab the Fab Four. “The Beatles are all over the place, like a bag of f****** fleas, right? And you’ve got another good band. The thing is not to try and regurgitate the Beatles. So we’re going to have to be the anti-Beatles,” Richards wrote in his 2010 memoir, \u003cem>Life\u003c/em>.\u003c/p>\n\u003cp>From feathered boas, furs, satins and velvets, Pallenberg’s extravagant and imaginative style quickly became the band’s own. “[Anita and Brian] were both dauntless shoppers and excessively vain. Hours and hours were spent putting on clothes and taking them off again. Heaps of scarves, hats, shirts and boots flew out of drawers and trunks. Unending trying on of outfits, primping and sashaying,” Marianne Faithfull, a close friend of Pallenberg’s, wrote in her 2010 autobiography, \u003cem>Faithfull\u003c/em>. “I would sit mesmerized for hours, watching them preening in the mirror, trying on each other’s clothes. All roles and gender would evaporate in these narcissistic performances where Anita would turn Brian into the Sun King, Francoise Hardy or the mirror image of herself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The contrast of the Stones’ raw, blues-inflected sound with the decadence of their appearance would transform the band into cultural icons, not just pop stars. And unlike artists who come up with new looks for different album cycles, once the Stones began following Pallenberg’s lead, they continued cultivating that singular look for the decades to come. Within the band’s style entity, individual members had nuances — shimmying Mick Jagger, for example, was the more flamboyant of the bunch, while Charlie Watts opted for a more tailored look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like Faithfull, who wrote that Pallenberg was “dazzling, beautiful, hypnotic and unsettling” and that “other women evaporated next to her,” Hogg concedes that, more than the clothes themselves, it was Pallenberg’s spirit that made her such a phenomenon. “Her personality made her style work, she was a free spirit with only her rules to follow or break. She had natural style, you can’t buy that. You instantly knew you were in the company of a caliber woman.” \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=Anita+Pallenberg+Was+No+Simple+Muse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arguably, no single rock musician has had a greater ripple effect on both men’s and women’s fashion than Keith Richards. Things that shouldn’t have made sense — from Nudie suits and scarves as belts, to cheetah-prints and graphic striped trousers mixed with polka dots — always looked effortless on him. Unbeknownst to many at the time, it was Anita Pallenberg’s closet from which Richard was pulling.\u003c/p>\n\u003cp>“As a kid I wanted to dress like Keith Richards, I wasn’t at all interested in women’s fashion, it was guys in bands I wanted to emulate,” British designer Pamela Hogg tells NPR Music. “But it was a long time before I realized Anita was behind all these great looks, they couldn’t help but be influenced by her amazing sense of style, it was contagious.” She and Pallenberg would eventually connect in a coffee shop in Paris in the 1980’s, and their friendship would result in Pallenberg walking Hogg’s runway during London Fashion Week in 2016.\u003c/p>\n\u003cp>When Pallenberg, a German-Italian actress and model, died last week at 73 she was remembered foremost, if headlines are any guide, as The Rolling Stones’ “muse and rock-star girlfriend of Keith Richards. She was, clearly, much more than that — an icon and creator in her own right, the baddest of the bad girls, an incendiary force who helped the Stones \u003cem>become \u003c/em>the Stones. Pallenberg was the one who shook the shy, awkward schoolboys out of the band’s system and helped extricate their inner outlaws. The truth is, it’s hard to imagine what the Rolling Stones would have would have looked like had Pallenberg never made her way backstage at a show in 1965.\u003c/p>\n\u003cfigure id=\"attachment_13478982\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg\" alt=\"Keith Richards with Anita Pallenberg in 1970.\" width=\"800\" height=\"1066\" class=\"size-medium wp-image-13478982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Richards with Anita Pallenberg in 1970. \u003ccite>(Mark and Colleen Hayward/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she moved into an apartment with then-guitarist Brian Jones in 1966, The Rolling Stones had ditched its matching houndstooth coats for a mix of tailored blazers, skinny ties, slacks and polo shirts, in an attempt to out-fab the Fab Four. “The Beatles are all over the place, like a bag of f****** fleas, right? And you’ve got another good band. The thing is not to try and regurgitate the Beatles. So we’re going to have to be the anti-Beatles,” Richards wrote in his 2010 memoir, \u003cem>Life\u003c/em>.\u003c/p>\n\u003cp>From feathered boas, furs, satins and velvets, Pallenberg’s extravagant and imaginative style quickly became the band’s own. “[Anita and Brian] were both dauntless shoppers and excessively vain. Hours and hours were spent putting on clothes and taking them off again. Heaps of scarves, hats, shirts and boots flew out of drawers and trunks. Unending trying on of outfits, primping and sashaying,” Marianne Faithfull, a close friend of Pallenberg’s, wrote in her 2010 autobiography, \u003cem>Faithfull\u003c/em>. “I would sit mesmerized for hours, watching them preening in the mirror, trying on each other’s clothes. All roles and gender would evaporate in these narcissistic performances where Anita would turn Brian into the Sun King, Francoise Hardy or the mirror image of herself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The contrast of the Stones’ raw, blues-inflected sound with the decadence of their appearance would transform the band into cultural icons, not just pop stars. And unlike artists who come up with new looks for different album cycles, once the Stones began following Pallenberg’s lead, they continued cultivating that singular look for the decades to come. Within the band’s style entity, individual members had nuances — shimmying Mick Jagger, for example, was the more flamboyant of the bunch, while Charlie Watts opted for a more tailored look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like Faithfull, who wrote that Pallenberg was “dazzling, beautiful, hypnotic and unsettling” and that “other women evaporated next to her,” Hogg concedes that, more than the clothes themselves, it was Pallenberg’s spirit that made her such a phenomenon. “Her personality made her style work, she was a free spirit with only her rules to follow or break. She had natural style, you can’t buy that. You instantly knew you were in the company of a caliber woman.” \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=Anita+Pallenberg+Was+No+Simple+Muse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Slants Win Supreme Court Battle Over Band's Name in Trademark Dispute",
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"content": "\u003cp>Members of the Asian-American rock band The Slants have the right to call themselves by a disparaging name, the Supreme Court says, in a ruling that could have broad impact on how the First Amendment is applied in other trademark cases.\u003c/p>\n\u003cp>The Slants’ frontman, Simon Tam, filed a lawsuit after the U.S. Patent and Trademark Office kept the band from registering its name and rejected its appeal, citing the Lanham Act, which prohibits any trademark that could “disparage … or bring … into contemp[t] or disrepute” any “persons, living or dead,” as the court states.\u003c/p>\n\u003cp>After a federal court agreed with Tam and his band, the Patent and Trademark Office sued to avoid being compelled to register its name as a trademark. On Monday, the Supreme Court sided with The Slants.\u003c/p>\n\u003cp>“The disparagement clause violates the First Amendment’s Free Speech Clause,” Justice Samuel Alito wrote in his opinion for the court. Contrary to the Government’s contention, trademarks are private, not government speech.”\u003c/p>\n\u003cp>The band has said it wanted to reclaim what is often seen as a slur.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We grew up and the notion of having slanted eyes was always considered a negative thing,” \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/01/19/510467679/the-slants-fighting-for-the-right-to-rock-a-racial-slur\">Tam said in January\u003c/a>. “Kids would pull their eyes back in a slant-eyed gesture to make fun of us. … I wanted to change it to something that was powerful, something that was considered beautiful or a point of pride instead.”\u003c/p>\n\u003cp>Attorney Lee Rowland of the American Civil Liberties Union welcomed the Supreme Court’s decision:\u003c/p>\n\u003cblockquote>\n\u003cp>“The government’s misguided effort to protect minorities from disparagement instead hurt members of that very community by hindering their right to compete in the marketplace of ideas. Fortunately, today’s opinion prevents the kind of absurd outcome that results when the government plays speech police.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The case could inform arguments over other, much larger entities than The Slants.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2017/01/18/510310945/in-battle-over-band-name-supreme-court-considers-free-speech-and-trademarks\">NPR’s Nina Totenberg has reported\u003c/a>, “the trademark office has denied registration to a group calling itself “Abort the Republicans,” and another called “Democrats Shouldn’t Breed.” It \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/18/323205099/u-s-patent-office-cancels-washington-redskins-trademark-registration\">canceled the registration\u003c/a> for the Washington Redskins in 2014 at the behest of some Native Americans who considered the name offensive.”\u003c/p>\n\u003cp>In his opinion about another facet of the case, Alito wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“There is also a deeper problem with the argument that commercial speech may be cleansed of any expression likely to cause offense. The commercial market is well stocked with merchandise that disparages prominent figures and groups, and the line between commercial and non-commercial speech is not always clear, as this case illustrates. If affixing the commercial label permits the suppression of any speech that may lead to political or social ‘volatility,’ free speech would be endangered.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The judgment was unanimous — with two asterisks: Justice Neil Gorsuch, who wasn’t yet on the court when the case was argued in January, did not take part. And with different parts of the case drawing differing legal explanations, four opinions were written. \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=The+Slants+Win+Supreme+Court+Battle+Over+Band%27s+Name+In+Trademark+Dispute&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Members of the Asian-American rock band The Slants have the right to call themselves by a disparaging name, the Supreme Court says, in a ruling that could have broad impact on how the First Amendment is applied in other trademark cases.\u003c/p>\n\u003cp>The Slants’ frontman, Simon Tam, filed a lawsuit after the U.S. Patent and Trademark Office kept the band from registering its name and rejected its appeal, citing the Lanham Act, which prohibits any trademark that could “disparage … or bring … into contemp[t] or disrepute” any “persons, living or dead,” as the court states.\u003c/p>\n\u003cp>After a federal court agreed with Tam and his band, the Patent and Trademark Office sued to avoid being compelled to register its name as a trademark. On Monday, the Supreme Court sided with The Slants.\u003c/p>\n\u003cp>“The disparagement clause violates the First Amendment’s Free Speech Clause,” Justice Samuel Alito wrote in his opinion for the court. Contrary to the Government’s contention, trademarks are private, not government speech.”\u003c/p>\n\u003cp>The band has said it wanted to reclaim what is often seen as a slur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We grew up and the notion of having slanted eyes was always considered a negative thing,” \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/01/19/510467679/the-slants-fighting-for-the-right-to-rock-a-racial-slur\">Tam said in January\u003c/a>. “Kids would pull their eyes back in a slant-eyed gesture to make fun of us. … I wanted to change it to something that was powerful, something that was considered beautiful or a point of pride instead.”\u003c/p>\n\u003cp>Attorney Lee Rowland of the American Civil Liberties Union welcomed the Supreme Court’s decision:\u003c/p>\n\u003cblockquote>\n\u003cp>“The government’s misguided effort to protect minorities from disparagement instead hurt members of that very community by hindering their right to compete in the marketplace of ideas. Fortunately, today’s opinion prevents the kind of absurd outcome that results when the government plays speech police.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The case could inform arguments over other, much larger entities than The Slants.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2017/01/18/510310945/in-battle-over-band-name-supreme-court-considers-free-speech-and-trademarks\">NPR’s Nina Totenberg has reported\u003c/a>, “the trademark office has denied registration to a group calling itself “Abort the Republicans,” and another called “Democrats Shouldn’t Breed.” It \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/18/323205099/u-s-patent-office-cancels-washington-redskins-trademark-registration\">canceled the registration\u003c/a> for the Washington Redskins in 2014 at the behest of some Native Americans who considered the name offensive.”\u003c/p>\n\u003cp>In his opinion about another facet of the case, Alito wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“There is also a deeper problem with the argument that commercial speech may be cleansed of any expression likely to cause offense. The commercial market is well stocked with merchandise that disparages prominent figures and groups, and the line between commercial and non-commercial speech is not always clear, as this case illustrates. If affixing the commercial label permits the suppression of any speech that may lead to political or social ‘volatility,’ free speech would be endangered.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The judgment was unanimous — with two asterisks: Justice Neil Gorsuch, who wasn’t yet on the court when the case was argued in January, did not take part. And with different parts of the case drawing differing legal explanations, four opinions were written. \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=The+Slants+Win+Supreme+Court+Battle+Over+Band%27s+Name+In+Trademark+Dispute&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: \u003cem>1984 \u003c/em>has come to Broadway. George Orwell’s dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.\u003c/p>\n\u003cp>After a recent performance of \u003cem>1984\u003c/em>, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. “Big Brother is watching us, that’s for sure …” she says. “Little did we know that that was going to be reality.”\u003c/p>\n\u003cp>Facebook and Amazon know what you like. Orwell wrote his novel in reaction to the fascism and totalitarianism that had engulfed the globe during and after World War II. The novel has always been a steady seller, but since the election e-book sales spiked.\u003c/p>\n\u003cp>“So far this year we sold over 200,000 copies, just in five months and I don’t think that’s going to slow down,” says Bruce Nichols, the book’s current publisher at Houghton Mifflin Harcourt. “\u003cem>1984\u003c/em> holds up because Orwell’s political incisiveness, when he talks about newspeak, it applies to all kinds of spin which we see every day. And it seems to only ever get worse.”\u003c/p>\n\u003cp>Two days after Donald Trump’s inauguration, Kellyanne Conway coined the phrase “alternative facts” on \u003cem>Meet the Press. \u003c/em>Around that same time, \u003cem>1984\u003c/em> shot up to No. 1 on Amazon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. The way you react, shout out in this play, which is extraordinary, makes you enormously complicit in the evening that we have together.\u003c/p>\n\u003cp>Olivia Wilde, who plays Winston’s lover, Julia (people have a tendency to forget there’s a love story at the center of \u003cem>1984)\u003c/em> says the stage adaptation messes with the audience’s heads, much like reading the book. Winston Smith is willing to do anything to bring down the government for which he works, even when pressed by a duplicitous character.\u003cem>\u003c/em>\u003c/p>\n\u003cp>“We can feel the audience slowly falling into line behind Winston; they embrace him as their hero,” she says. “They root for him and then [when the antagonist,] O’Brien says, ‘If it would help the party, would you throw acid in a small child’s face?’ And we can hear this gasp from the audience. And he says, ‘Yes.’ And suddenly we question, ‘Well, hang on a minute. Am I Winston? I thought I was Winston. Am I willing to go that far? I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. And it leaves you with something, I hope, if it works properly, to resolve in yourself and with each other to try and work out what the hell it is you’ve just been exposed to, as it is with the novel.”\u003c/p>\n\u003cp>Amanda Bias, a high school English teacher from New Jersey who came with a group of co-workers, teaches the book to her seniors.\u003c/p>\n\u003cp>“I don’t think kids necessarily know what they’re always getting as a source, in the information they’re getting,” she says. “And we have to teach them what’s right and what’s wrong and, at least, what’s credible. And I think that’s a pretty good message.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Especially, she says, in the world we live in now, where two plus two can sometimes equal five. \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=%271984%27+Comes+To+Broadway+And+%27It%27s+Not+An+Easy+Evening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: \u003cem>1984 \u003c/em>has come to Broadway. George Orwell’s dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.\u003c/p>\n\u003cp>After a recent performance of \u003cem>1984\u003c/em>, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. “Big Brother is watching us, that’s for sure …” she says. “Little did we know that that was going to be reality.”\u003c/p>\n\u003cp>Facebook and Amazon know what you like. Orwell wrote his novel in reaction to the fascism and totalitarianism that had engulfed the globe during and after World War II. The novel has always been a steady seller, but since the election e-book sales spiked.\u003c/p>\n\u003cp>“So far this year we sold over 200,000 copies, just in five months and I don’t think that’s going to slow down,” says Bruce Nichols, the book’s current publisher at Houghton Mifflin Harcourt. “\u003cem>1984\u003c/em> holds up because Orwell’s political incisiveness, when he talks about newspeak, it applies to all kinds of spin which we see every day. And it seems to only ever get worse.”\u003c/p>\n\u003cp>Two days after Donald Trump’s inauguration, Kellyanne Conway coined the phrase “alternative facts” on \u003cem>Meet the Press. \u003c/em>Around that same time, \u003cem>1984\u003c/em> shot up to No. 1 on Amazon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. The way you react, shout out in this play, which is extraordinary, makes you enormously complicit in the evening that we have together.\u003c/p>\n\u003cp>Olivia Wilde, who plays Winston’s lover, Julia (people have a tendency to forget there’s a love story at the center of \u003cem>1984)\u003c/em> says the stage adaptation messes with the audience’s heads, much like reading the book. Winston Smith is willing to do anything to bring down the government for which he works, even when pressed by a duplicitous character.\u003cem>\u003c/em>\u003c/p>\n\u003cp>“We can feel the audience slowly falling into line behind Winston; they embrace him as their hero,” she says. “They root for him and then [when the antagonist,] O’Brien says, ‘If it would help the party, would you throw acid in a small child’s face?’ And we can hear this gasp from the audience. And he says, ‘Yes.’ And suddenly we question, ‘Well, hang on a minute. Am I Winston? I thought I was Winston. Am I willing to go that far? I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. And it leaves you with something, I hope, if it works properly, to resolve in yourself and with each other to try and work out what the hell it is you’ve just been exposed to, as it is with the novel.”\u003c/p>\n\u003cp>Amanda Bias, a high school English teacher from New Jersey who came with a group of co-workers, teaches the book to her seniors.\u003c/p>\n\u003cp>“I don’t think kids necessarily know what they’re always getting as a source, in the information they’re getting,” she says. “And we have to teach them what’s right and what’s wrong and, at least, what’s credible. And I think that’s a pretty good message.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Especially, she says, in the world we live in now, where two plus two can sometimes equal five. \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=%271984%27+Comes+To+Broadway+And+%27It%27s+Not+An+Easy+Evening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Heartbeat Music: Parents Remember Their Son Through His Song of Life",
"headTitle": "Heartbeat Music: Parents Remember Their Son Through His Song of Life | KQED",
"content": "\u003cp>Nate Kramer was a tall, quiet college swimmer when he was diagnosed with leukemia. His dad, Vince, says it was the beginning of four difficult years.\u003c/p>\n\u003cp>Nate battled through chemotherapy, a fungal infection of the sinuses, 30 operations, bone marrow transplants, a lung infection and the removal of his spleen. Vince says his son kept rallying back.\u003c/p>\n\u003cp>During these ups and downs, although his health was precarious, \u003ca href=\"http://www.wbur.org/kindworld/2016/09/06/kind-world-29-the-heartbeat\" target=\"_blank\" rel=\"noopener\">Nate started working with a music therapist\u003c/a> from Cincinnati Children’s Hospital named Brian Schreck.\u003c/p>\n\u003cp>“Brian would come over to the house,” says Nate’s mom, De Ann. “They would play music, they would record music. Brian was really teaching him to play his guitar.”\u003c/p>\n\u003cp>Brian says Nate loved to play riffs by The Rolling Stones and Jimi Hendrix — but for the most part, Nate’s parents didn’t really know what Nate and Brian were recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the years passed, Nate and Brian grew close. “I think Nate could talk to Brian about things that he didn’t want to talk to us about because it would hurt us,” De Ann says.\u003c/p>\n\u003cp>One day, Nate asked Brian about a project Brian had been working on. As part of his work as a music therapist, Brian had been recording the heartbeats of babies and children near the end of their lives, then layering the rhythmic pulses over melodies.\u003c/p>\n\u003cp>Brian asked Nate if he would like to record one, and Nate agreed. But Nate’s father wasn’t too keen on the idea of the heartbeat project.\u003c/p>\n\u003cp>“It was like, ‘OK, is that the only heartbeat I’m going to have left of him?’ ” Vince says. “Um, no thank you.”\u003c/p>\n\u003cp>To Vince, it felt like giving up, and he wasn’t ready for that — even a couple weeks later when Nate, then 26, was back in the hospital.\u003c/p>\n\u003cp>“He was doing very poorly, and I just actually asked … ‘Nate, do you still want to fight?’ ” Vince says. “And he said to me, ‘Wanna fight.’ That was the last words he said to me.”\u003c/p>\n\u003cp>Nate couldn’t talk after that. Five days later, his mom was up early with him.\u003c/p>\n\u003cp>“It was just the two of us, and I was laying basically on his chest and listening to him,” De Ann says.\u003c/p>\n\u003cp>“[I] could still hear his heartbeat then; that afternoon he had passed.”\u003c/p>\n\u003cp>After Nate died, Brian gave Vince and De Ann a couple CDs from Nate, but Nate’s death was still too raw for them to press play. They sold their house with its painful memories, packed up their belongings and moved.\u003c/p>\n\u003cp>Just over a year later, Vince was at home. It happened to be Father’s Day.\u003c/p>\n\u003cp>“I was rearranging my office, and I came across CDs that had a very unique — some sort of custom cover,” Vince says.\u003c/p>\n\u003cp>When he plugged it into the computer, the first thing he heard was, “Happy Father’s Day, old man. Love ya.”\u003c/p>\n\u003cp>“It was Nate’s voice,” Vince says. “And I was like, ‘What?’ So then I listened to the next song, which was the heartbeat song.”\u003c/p>\n\u003cp>Nate had made a CD for his mom, too.\u003c/p>\n\u003cp>“Hearing the heartbeat for me is very bittersweet because of the morning of the day that he passed,” De Ann says. “But I would never give it up. How strong it sounds.”\u003c/p>\n\u003cp>Vince says the CD will probably never leave his CD player. He has made about half a dozen spare copies of the CD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Nate had a very powerful, smooth, slow, rhythmic heartbeat,” Vince says. “It’s Nate. It’s life. I\u003cem> \u003c/em>cannot explain why it just sort of calms me down.” \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=Heartbeat+Music%3A+Parents+Remember+Their+Son+Through+His+Song+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nate Kramer was a tall, quiet college swimmer when he was diagnosed with leukemia. His dad, Vince, says it was the beginning of four difficult years.\u003c/p>\n\u003cp>Nate battled through chemotherapy, a fungal infection of the sinuses, 30 operations, bone marrow transplants, a lung infection and the removal of his spleen. Vince says his son kept rallying back.\u003c/p>\n\u003cp>During these ups and downs, although his health was precarious, \u003ca href=\"http://www.wbur.org/kindworld/2016/09/06/kind-world-29-the-heartbeat\" target=\"_blank\" rel=\"noopener\">Nate started working with a music therapist\u003c/a> from Cincinnati Children’s Hospital named Brian Schreck.\u003c/p>\n\u003cp>“Brian would come over to the house,” says Nate’s mom, De Ann. “They would play music, they would record music. Brian was really teaching him to play his guitar.”\u003c/p>\n\u003cp>Brian says Nate loved to play riffs by The Rolling Stones and Jimi Hendrix — but for the most part, Nate’s parents didn’t really know what Nate and Brian were recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the years passed, Nate and Brian grew close. “I think Nate could talk to Brian about things that he didn’t want to talk to us about because it would hurt us,” De Ann says.\u003c/p>\n\u003cp>One day, Nate asked Brian about a project Brian had been working on. As part of his work as a music therapist, Brian had been recording the heartbeats of babies and children near the end of their lives, then layering the rhythmic pulses over melodies.\u003c/p>\n\u003cp>Brian asked Nate if he would like to record one, and Nate agreed. But Nate’s father wasn’t too keen on the idea of the heartbeat project.\u003c/p>\n\u003cp>“It was like, ‘OK, is that the only heartbeat I’m going to have left of him?’ ” Vince says. “Um, no thank you.”\u003c/p>\n\u003cp>To Vince, it felt like giving up, and he wasn’t ready for that — even a couple weeks later when Nate, then 26, was back in the hospital.\u003c/p>\n\u003cp>“He was doing very poorly, and I just actually asked … ‘Nate, do you still want to fight?’ ” Vince says. “And he said to me, ‘Wanna fight.’ That was the last words he said to me.”\u003c/p>\n\u003cp>Nate couldn’t talk after that. Five days later, his mom was up early with him.\u003c/p>\n\u003cp>“It was just the two of us, and I was laying basically on his chest and listening to him,” De Ann says.\u003c/p>\n\u003cp>“[I] could still hear his heartbeat then; that afternoon he had passed.”\u003c/p>\n\u003cp>After Nate died, Brian gave Vince and De Ann a couple CDs from Nate, but Nate’s death was still too raw for them to press play. They sold their house with its painful memories, packed up their belongings and moved.\u003c/p>\n\u003cp>Just over a year later, Vince was at home. It happened to be Father’s Day.\u003c/p>\n\u003cp>“I was rearranging my office, and I came across CDs that had a very unique — some sort of custom cover,” Vince says.\u003c/p>\n\u003cp>When he plugged it into the computer, the first thing he heard was, “Happy Father’s Day, old man. Love ya.”\u003c/p>\n\u003cp>“It was Nate’s voice,” Vince says. “And I was like, ‘What?’ So then I listened to the next song, which was the heartbeat song.”\u003c/p>\n\u003cp>Nate had made a CD for his mom, too.\u003c/p>\n\u003cp>“Hearing the heartbeat for me is very bittersweet because of the morning of the day that he passed,” De Ann says. “But I would never give it up. How strong it sounds.”\u003c/p>\n\u003cp>Vince says the CD will probably never leave his CD player. He has made about half a dozen spare copies of the CD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Nate had a very powerful, smooth, slow, rhythmic heartbeat,” Vince says. “It’s Nate. It’s life. I\u003cem> \u003c/em>cannot explain why it just sort of calms me down.” \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=Heartbeat+Music%3A+Parents+Remember+Their+Son+Through+His+Song+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \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=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \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=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kate McKinnon plays an Australian in \u003cem>Rough Night\u003c/em>, a shrewd gender-reversal of sloppy-drunk bro comedies like \u003cem>Bachelor Party\u003c/em>, \u003cem>Very Bad Things\u003c/em>, and \u003cem>The Hangover\u003c/em>. There’s no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it’s funny. McKinnon merrily swishes her dialogue around the accent and makes her character’s jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train. It seems highly unlikely the part was written for an Australian, but her instincts — and the instincts of her co-writer/director, Lucia Aniello –prevailed and the film is funnier because of it.\u003c/p>\n\u003cp>There are some twists and turns of the plot in \u003cem>Rough Night — \u003c/em>twists and turns lifted from all of its predecessors, especially the accidental-killing-of-a-stripper gambit of \u003cem>Very Bad Things — \u003c/em>but it’s mostly a frantic accumulation of jokes, staked on group chemistry and seat-of-the-pants audacity. In that, it mirrors the crazy, spontaneous progression of the bachelorette party itself, which aims for nonstop euphoria but occasionally strays into regrettable moments when it goes too far or stumbles into awkward patches. Casting a non-Australian to be Australian for no essential reason is the first clue that \u003cem>Rough Night\u003c/em> will be going after laughs at whatever random place it can find them. “Fasten your seatbelts,” as Bette Davis would say.\u003c/p>\n\u003cp>Getting the night started turns out to be the toughest part. After an extended prologue establishes the bond between four hard-partying college friends a decade earlier, \u003cem>Rough Night\u003c/em> has the laborious task of yadda-yadda-ing through their individual lives before bringing them together for a bachelorette weekend in Miami Beach. A game Scarlett Johansson stars as Jess, a neophyte State Senate candidate who’s seen as too uptight to connect with voters, despite an opponent whose behavior is Anthony Weiner-esque. Her buttoned-down life has put some distance between herself and Alice (Jillian Bell), her crass college dorm-mate; her other friends, Frankie (Ilana Glazer) and Blair (Zoe Kravitz), have their own problems, like a former romance that didn’t end gracefully.\u003c/p>\n\u003cp>The strained chemistry among the four friends threatens to sour the film before it even gets started, particularly because Bell is such a dominant presence that the others are deprived of oxygen. But when they get to Miami for Jess’ bachelorette party and her newish friend Pippa (McKinnon) enters the mix, the ensemble starts to gain some balance, right in time for a little cocaine bump and involuntary manslaughter to take the evening to another level. When an overzealous Alice accidentally kills a stripper (Colton Haynes), the women decide to cover it up rather than explain the out-of-control coke party that’s been raging in their beachside rental home. Meanwhile, Jess’ concerned fiancé Peter (Paul W. Downs, who co-wrote the script) is convinced by his buddies to drive nonstop through Florida in adult diapers, kept alert by Red Bull and expired Russian Adderall.\u003c/p>\n\u003cp>This last detail, which Peter’s friend dubs “the sad astronaut,” takes its inspiration from the bizarre true story of a former NASA astronaut who drove hundreds of miles in adult diapers to attack her rival in a love triangle. It’s also another example of \u003cem>Rough Night\u003c/em> committing to an off-the-wall comic idea and going all the way with it. Though Aniello and Downs’ script feels like a patchwork of other bachelor-night comedies, with scenes from \u003cem>Weekend At Bernie’s\u003c/em> tacked on for good measure, they’re smart enough to allow for silly digressions to keep the action from getting stale and predictable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rough Night\u003c/em> isn’t satisfied with being the latest in ladies-can-be-raunchy-too comedies, though it does pull a fun role reversal by making Peter’s bachelor party a staid affair, with the guys comparing notes at a wine tasting. The setbacks that befall Jess and her friends are not marked as punishment for their sinful behavior, but obstacles for them to improvise their way around, so they can go back to partying some more. \u003cem>Rough Night\u003c/em> may be a shameless comedy, but it’s also a comedy without shame. There’s something liberating in that. \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=%27Rough+Night%27+Is+Shamelessly+Derivative+%E2%80%94+And+Shamelessly+Funny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate McKinnon plays an Australian in \u003cem>Rough Night\u003c/em>, a shrewd gender-reversal of sloppy-drunk bro comedies like \u003cem>Bachelor Party\u003c/em>, \u003cem>Very Bad Things\u003c/em>, and \u003cem>The Hangover\u003c/em>. There’s no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it’s funny. McKinnon merrily swishes her dialogue around the accent and makes her character’s jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train. It seems highly unlikely the part was written for an Australian, but her instincts — and the instincts of her co-writer/director, Lucia Aniello –prevailed and the film is funnier because of it.\u003c/p>\n\u003cp>There are some twists and turns of the plot in \u003cem>Rough Night — \u003c/em>twists and turns lifted from all of its predecessors, especially the accidental-killing-of-a-stripper gambit of \u003cem>Very Bad Things — \u003c/em>but it’s mostly a frantic accumulation of jokes, staked on group chemistry and seat-of-the-pants audacity. In that, it mirrors the crazy, spontaneous progression of the bachelorette party itself, which aims for nonstop euphoria but occasionally strays into regrettable moments when it goes too far or stumbles into awkward patches. Casting a non-Australian to be Australian for no essential reason is the first clue that \u003cem>Rough Night\u003c/em> will be going after laughs at whatever random place it can find them. “Fasten your seatbelts,” as Bette Davis would say.\u003c/p>\n\u003cp>Getting the night started turns out to be the toughest part. After an extended prologue establishes the bond between four hard-partying college friends a decade earlier, \u003cem>Rough Night\u003c/em> has the laborious task of yadda-yadda-ing through their individual lives before bringing them together for a bachelorette weekend in Miami Beach. A game Scarlett Johansson stars as Jess, a neophyte State Senate candidate who’s seen as too uptight to connect with voters, despite an opponent whose behavior is Anthony Weiner-esque. Her buttoned-down life has put some distance between herself and Alice (Jillian Bell), her crass college dorm-mate; her other friends, Frankie (Ilana Glazer) and Blair (Zoe Kravitz), have their own problems, like a former romance that didn’t end gracefully.\u003c/p>\n\u003cp>The strained chemistry among the four friends threatens to sour the film before it even gets started, particularly because Bell is such a dominant presence that the others are deprived of oxygen. But when they get to Miami for Jess’ bachelorette party and her newish friend Pippa (McKinnon) enters the mix, the ensemble starts to gain some balance, right in time for a little cocaine bump and involuntary manslaughter to take the evening to another level. When an overzealous Alice accidentally kills a stripper (Colton Haynes), the women decide to cover it up rather than explain the out-of-control coke party that’s been raging in their beachside rental home. Meanwhile, Jess’ concerned fiancé Peter (Paul W. Downs, who co-wrote the script) is convinced by his buddies to drive nonstop through Florida in adult diapers, kept alert by Red Bull and expired Russian Adderall.\u003c/p>\n\u003cp>This last detail, which Peter’s friend dubs “the sad astronaut,” takes its inspiration from the bizarre true story of a former NASA astronaut who drove hundreds of miles in adult diapers to attack her rival in a love triangle. It’s also another example of \u003cem>Rough Night\u003c/em> committing to an off-the-wall comic idea and going all the way with it. Though Aniello and Downs’ script feels like a patchwork of other bachelor-night comedies, with scenes from \u003cem>Weekend At Bernie’s\u003c/em> tacked on for good measure, they’re smart enough to allow for silly digressions to keep the action from getting stale and predictable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"marketplace": {
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"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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"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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"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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"perspectives": {
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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.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"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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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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