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"content": "\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Alien: Covenant' Continues to Mine Old Ground",
"headTitle": "‘Alien: Covenant’ Continues to Mine Old Ground | KQED",
"content": "\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\u003c/p>\n\u003cp>https://youtu.be/svnAD0TApb8\u003c/p>\n\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\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/svnAD0TApb8'\n title='//www.youtube.com/embed/svnAD0TApb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Asian Americans in Hollywood Still Waiting for the Spotlight | KQED",
"content": "\u003cp>Ask some actors about their dream role, and they’re likely to offer range of answers: a character from Shakespeare, a superhero, the lead in \u003cem>Phantom of the Opera\u003c/em>. As for Daniel Dae Kim, a Korean-American actor who’s had roles in \u003cem>Lost\u003c/em>, \u003cem>Crash\u003c/em>, and most recently \u003cem>Hawaii Five-0\u003c/em>, his dream is to play a romantic lead. \u003cem>Any\u003c/em> romantic lead.\u003c/p>\n\u003cp>But Dae Kim said that there’s a reluctance on the part of many studio heads to cast Asian-American actors in romantic roles. He said he has asked people in every level of the film industry for data to show that casting white actors is more profitable, and they can’t provide any. “It’s just this institutionalized thinking,” he said. “[They] have it in their minds that it cannot be that way.”\u003c/p>\n\u003cp>Dae Kim joined Arden Cho, Sang H. Cho, and John C. Yang on Wednesday night for a panel discussion hosted by \u003ca href=\"http://www.mnetamerica.com/\">Mnet America\u003c/a> and the \u003ca href=\"https://capac-chu.house.gov/\" target=\"_blank\" rel=\"noopener\">Congressional Asian Pacific American Caucus\u003c/a> on Asian Americans in entertainment. The discussion was led by Traci G. Lee, the digital editorial manager for NBC Asian America. She asked the group about the challenges and opportunities that come with being Asian American in Hollywood today, and how those obstacles connect to broader dynamics that impact Asian Americans.\u003c/p>\n\u003cp>The panelists touched on familiar frustrations — lack of representation and mentoring; whitewashing of Asian characters; ossified power structures. Arden Cho, of \u003cem>Teen Wolf\u003c/em> and YouTube fame, talked about how limited opportunities for Asian American actors affect self-perception.\u003c/p>\n\u003cfigure id=\"attachment_13257119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg\" alt=\"Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13257119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center. \u003ccite>(Leah Donnella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can remember one of the first times I saw an Asian American on TV,” Cho said. It was Whitney, a minor character in the 2000 movie \u003cem>Bring It On\u003c/em>. Still, the moment was meaningful for Cho. “I was like, oh my God. I could be a cheerleader.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Cho said that the landscape for Asian-American actors hasn’t changed that much in the past 17 years. She gets frustrated by being repeatedly asked to read for secondary characters but never for the leads. She said she asks her agent, “Can I read for A? And he goes, ‘No. They’re gonna go white on the lead.'”\u003c/p>\n\u003cp>Cho is looking forward to the day that changes — she said her dream is to play James Bond. “I want to be badass,” she said. “I want to be the one that’s saving the day. I want to be the hero.” In the meantime, she said, she’ll continue to make her own opportunities on platforms like YouTube.\u003c/p>\n\u003cp>Dae Kim, who is currently producing his own show, \u003cem>The Good Doctor\u003c/em>, was also excited about carving out space for a more diverse group of actors and stories. He started working on \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6470478/\" target=\"_blank\" rel=\"noopener\">The Good Doctor\u003c/a>\u003c/em>, he said, because Asian Americans “were waiting for a space that never came.” Now that he’s producing his own material, Dae Kim said he can “create worlds from the ground up. How I envision them. How I would populate them.” But, he said, that also means the shape of the obstacles he faces has changed. He said that when you’re a young actor, “you see systemic racism as being out there in the ether.” These days, he said, he’s looking at it face to face when he works directly with people to produce, write and cast the work he’s involved with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dae Kim added that despite the obstacles, he thinks Asian-American actors need to be prepared to blow casting directors away. “We like to talk about the ways in which we’re overlooked,” Dae Kim said. “Our responsibility is to be good at what we do… It’s important for us not to ask for charity.” \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=Asian+Americans+In+Hollywood+Still+Waiting+For+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask some actors about their dream role, and they’re likely to offer range of answers: a character from Shakespeare, a superhero, the lead in \u003cem>Phantom of the Opera\u003c/em>. As for Daniel Dae Kim, a Korean-American actor who’s had roles in \u003cem>Lost\u003c/em>, \u003cem>Crash\u003c/em>, and most recently \u003cem>Hawaii Five-0\u003c/em>, his dream is to play a romantic lead. \u003cem>Any\u003c/em> romantic lead.\u003c/p>\n\u003cp>But Dae Kim said that there’s a reluctance on the part of many studio heads to cast Asian-American actors in romantic roles. He said he has asked people in every level of the film industry for data to show that casting white actors is more profitable, and they can’t provide any. “It’s just this institutionalized thinking,” he said. “[They] have it in their minds that it cannot be that way.”\u003c/p>\n\u003cp>Dae Kim joined Arden Cho, Sang H. Cho, and John C. Yang on Wednesday night for a panel discussion hosted by \u003ca href=\"http://www.mnetamerica.com/\">Mnet America\u003c/a> and the \u003ca href=\"https://capac-chu.house.gov/\" target=\"_blank\" rel=\"noopener\">Congressional Asian Pacific American Caucus\u003c/a> on Asian Americans in entertainment. The discussion was led by Traci G. Lee, the digital editorial manager for NBC Asian America. She asked the group about the challenges and opportunities that come with being Asian American in Hollywood today, and how those obstacles connect to broader dynamics that impact Asian Americans.\u003c/p>\n\u003cp>The panelists touched on familiar frustrations — lack of representation and mentoring; whitewashing of Asian characters; ossified power structures. Arden Cho, of \u003cem>Teen Wolf\u003c/em> and YouTube fame, talked about how limited opportunities for Asian American actors affect self-perception.\u003c/p>\n\u003cfigure id=\"attachment_13257119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg\" alt=\"Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13257119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center. \u003ccite>(Leah Donnella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can remember one of the first times I saw an Asian American on TV,” Cho said. It was Whitney, a minor character in the 2000 movie \u003cem>Bring It On\u003c/em>. Still, the moment was meaningful for Cho. “I was like, oh my God. I could be a cheerleader.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Cho said that the landscape for Asian-American actors hasn’t changed that much in the past 17 years. She gets frustrated by being repeatedly asked to read for secondary characters but never for the leads. She said she asks her agent, “Can I read for A? And he goes, ‘No. They’re gonna go white on the lead.'”\u003c/p>\n\u003cp>Cho is looking forward to the day that changes — she said her dream is to play James Bond. “I want to be badass,” she said. “I want to be the one that’s saving the day. I want to be the hero.” In the meantime, she said, she’ll continue to make her own opportunities on platforms like YouTube.\u003c/p>\n\u003cp>Dae Kim, who is currently producing his own show, \u003cem>The Good Doctor\u003c/em>, was also excited about carving out space for a more diverse group of actors and stories. He started working on \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6470478/\" target=\"_blank\" rel=\"noopener\">The Good Doctor\u003c/a>\u003c/em>, he said, because Asian Americans “were waiting for a space that never came.” Now that he’s producing his own material, Dae Kim said he can “create worlds from the ground up. How I envision them. How I would populate them.” But, he said, that also means the shape of the obstacles he faces has changed. He said that when you’re a young actor, “you see systemic racism as being out there in the ether.” These days, he said, he’s looking at it face to face when he works directly with people to produce, write and cast the work he’s involved with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dae Kim added that despite the obstacles, he thinks Asian-American actors need to be prepared to blow casting directors away. “We like to talk about the ways in which we’re overlooked,” Dae Kim said. “Our responsibility is to be good at what we do… It’s important for us not to ask for charity.” \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=Asian+Americans+In+Hollywood+Still+Waiting+For+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Can You Copyright Your Dumb Joke? And How Can You Prove It's Yours?",
"headTitle": "Can You Copyright Your Dumb Joke? And How Can You Prove It’s Yours? | KQED",
"content": "\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \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=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"Joke theft\" sounds funny, but that claim is at the heart of a lawsuit lodged against Conan O'Brien. The case brings thorny questions of humor to the courtroom, a place not always known for jokes.",
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"description": ""Joke theft" sounds funny, but that claim is at the heart of a lawsuit lodged against Conan O'Brien. The case brings thorny questions of humor to the courtroom, a place not always known for jokes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \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=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actor Beau Bridges \u003ca href=\"https://twitter.com/MrBeauBridges/status/863871266914054144\" target=\"_blank\" rel=\"noopener\">tweeted the news of Boothe’s death\u003c/a> and called him “a dear friend, great actor, devoted father & husband.” \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=Powers+Boothe%2C+Who+Appeared+In+%27Deadwood%27+And+%27Sin+City%2C%27+Dies+At+68&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actor Beau Bridges \u003ca href=\"https://twitter.com/MrBeauBridges/status/863871266914054144\" target=\"_blank\" rel=\"noopener\">tweeted the news of Boothe’s death\u003c/a> and called him “a dear friend, great actor, devoted father & husband.” \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=Powers+Boothe%2C+Who+Appeared+In+%27Deadwood%27+And+%27Sin+City%2C%27+Dies+At+68&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Chicano Art Wields a Sharper Political Edge in Post-Election California",
"headTitle": "Chicano Art Wields a Sharper Political Edge in Post-Election California | KQED",
"content": "\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. At any number of protests around the world, you’ll see people carrying posters designed or distributed by \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the Oakland graphic arts collective Melanie Cervantes runs with her partner. “We have to have it everywhere,” Cervantes says, “and we need more people doing it, because that is its power.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dignidad Rebelde follows in a long line of Chicano graphic art collectives that also teach people how to do it themselves. When Cervantes gets invited to teach screen printing workshops at universities and community centers around the country, she makes a point of mixing in Chicano history and art history with her discussion of technique.\u003c/p>\n\u003cp>“Sometimes it’s just connecting the dots a little bit better for folks to see that our struggles have many fronts,” she says.\u003c/p>\n\u003cp>For Judith Baca, Almanza and Cervantes’ work marks a welcome return to the political roots of Chicano art after decades of trying to win recognition from art critics and museums.\u003c/p>\n\u003cp>“Chicano is about resistance and affirmation of a culture,” she says. “And I think it’s giving many young artists purpose again and a kind of focus for their work.”\u003c/p>\n\u003cp>Old and new Chicano artwork is being shown at museums and galleries across California this year, but the biggest exhibition of all will be “\u003ca href=\"http://www.getty.edu/pacificstandardtime/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA\u003c/a>,” a massive, multi-institution blowout organized by the Getty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. At any number of protests around the world, you’ll see people carrying posters designed or distributed by \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the Oakland graphic arts collective Melanie Cervantes runs with her partner. “We have to have it everywhere,” Cervantes says, “and we need more people doing it, because that is its power.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dignidad Rebelde follows in a long line of Chicano graphic art collectives that also teach people how to do it themselves. When Cervantes gets invited to teach screen printing workshops at universities and community centers around the country, she makes a point of mixing in Chicano history and art history with her discussion of technique.\u003c/p>\n\u003cp>“Sometimes it’s just connecting the dots a little bit better for folks to see that our struggles have many fronts,” she says.\u003c/p>\n\u003cp>For Judith Baca, Almanza and Cervantes’ work marks a welcome return to the political roots of Chicano art after decades of trying to win recognition from art critics and museums.\u003c/p>\n\u003cp>“Chicano is about resistance and affirmation of a culture,” she says. “And I think it’s giving many young artists purpose again and a kind of focus for their work.”\u003c/p>\n\u003cp>Old and new Chicano artwork is being shown at museums and galleries across California this year, but the biggest exhibition of all will be “\u003ca href=\"http://www.getty.edu/pacificstandardtime/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA\u003c/a>,” a massive, multi-institution blowout organized by the Getty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'King Arthur: Legend Of The Sword': An Edgy Script, Dulled By CGI",
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"content": "\u003cp>After a millennium of mystical and/or pious Arthurian lore, someone — could it have been Guy Ritchie? — determined that the once and future king needed the Guy Ritchie treatment. But then someone — could it have been the selfsame Ritchie? — concluded that snarky attitude wasn’t enough. And so we have \u003cem>King Arthur: Legend of The Sword\u003c/em> an intermittently amusing mashup of frisky medieval-gangsta flick and ponderous sub-Tolkien war saga.\u003c/p>\n\u003cp>In the movie’s livelier moments, Arthur (\u003cem>The Lost City of Z\u003c/em>‘s Charlie Hunnam) is a thief in a Londonium that’s the spiritual precursor of the London of Ritchie’s \u003cem>Lock, Stock, and Two Smoking Barrels\u003c/em>. Swaggering, charismatic Arthur was raised in a brothel, and represses his memories of the parents who died when he was young. He now leads a group of merry, Cockney-accented men through an urban equivalent of Sherwood Forest.\u003c/p>\n\u003cp>https://youtu.be/jIM4-HLtUM0\u003c/p>\n\u003cp>If Arthur is something of a beefcake Oliver Twist, his muddy hometown is even shabbier than Dickens’ London. And yet this Britain is cosmopolitan enough to have lured Arthur’s kung fu instructor (Tom Wu) from China and one of his future associates (Djimon Hounsou) from Africa. Also making a cameo, via cinematic time machine, is global football star David Beckham.\u003c/p>\n\u003cp>Playfully cross-cut and maniacally chatty, the Londinium sequences employ a jaunty percussive score and lots of Godard-via-Tarantino tricks. There’s reverse motion and julienned dialogue, as well as freedom-fighting: Arthur is not simply a lovable rogue, but also a defender of women and a leader of the resistance against the black-clad London SS dispatched by King Vortigern (Jude Law, who was Watson in two Ritchie pillagings of the Sherlock Holmes canon).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vortigern, a late addition to Arthurian fable, is here depicted as part Hitler, part Lear, and part Herod — plus a big dollop of every fairy-tale ruler foolish enough to call on occult powers to aid in usurping and keeping a throne. Law has some melodramatic fun with the role, but not enough.\u003c/p>\n\u003cp>\u003cem>King Arthur\u003c/em> might have been as successful — which is to say, moderately — as the director’s Sherlock romps if only the demons, mages, and hawks the size of SUVs had been kept in the background. But Ritchie (who co-scripted with Joby Harold and Lionel Wigram) opens the tale in full sword-and-sorcery mode, with an assault on Camelot led by bad wizard Mordred. While that’s happening, Vortigern is down in the basement, murdering Uther (Eric Bana), the true king and Arthur’s dad.\u003c/p>\n\u003cp>This dreary prologue is a bid for fans of \u003cem>The Lord of the Rings\u003c/em>, Harry Potter, and all that, but its CGI-crowded action barely rises to the level of \u003cem>The Great Wall.\u003c/em> When little Arthur escapes the carnage, floating impossibly down the Thames to Londonium, he’s in a better place — and a better movie.\u003c/p>\n\u003cp>Perhaps the worst possible outcome would be for a no-named ethereal sorceress (Franco-Spanish actress Astrid Berges-Frisbey) to persuade our scruffy hero to return to the magic kingdom. That is, of course, what happens. The filmmakers (who include executive producer Steve Mnuchin, now treasury secretary of Mordor) are apparently convinced of viewers’ insatiable appetite for massive yet weightless supernatural monsters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While making a hash of a national legend, Ritchie is at least enough of a patriot to have filmed \u003cem>King Arthur\u003c/em> entirely in the U.K. Yet he insists on having the king of the Britons refer to his country as “England.” The pseudo-historical Arthur, who supposedly protected his people from the Angles and Saxons, would have Excalibur-ed him for that one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a millennium of mystical and/or pious Arthurian lore, someone — could it have been Guy Ritchie? — determined that the once and future king needed the Guy Ritchie treatment. But then someone — could it have been the selfsame Ritchie? — concluded that snarky attitude wasn’t enough. And so we have \u003cem>King Arthur: Legend of The Sword\u003c/em> an intermittently amusing mashup of frisky medieval-gangsta flick and ponderous sub-Tolkien war saga.\u003c/p>\n\u003cp>In the movie’s livelier moments, Arthur (\u003cem>The Lost City of Z\u003c/em>‘s Charlie Hunnam) is a thief in a Londonium that’s the spiritual precursor of the London of Ritchie’s \u003cem>Lock, Stock, and Two Smoking Barrels\u003c/em>. Swaggering, charismatic Arthur was raised in a brothel, and represses his memories of the parents who died when he was young. He now leads a group of merry, Cockney-accented men through an urban equivalent of Sherwood Forest.\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/jIM4-HLtUM0'\n title='//www.youtube.com/embed/jIM4-HLtUM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If Arthur is something of a beefcake Oliver Twist, his muddy hometown is even shabbier than Dickens’ London. And yet this Britain is cosmopolitan enough to have lured Arthur’s kung fu instructor (Tom Wu) from China and one of his future associates (Djimon Hounsou) from Africa. Also making a cameo, via cinematic time machine, is global football star David Beckham.\u003c/p>\n\u003cp>Playfully cross-cut and maniacally chatty, the Londinium sequences employ a jaunty percussive score and lots of Godard-via-Tarantino tricks. There’s reverse motion and julienned dialogue, as well as freedom-fighting: Arthur is not simply a lovable rogue, but also a defender of women and a leader of the resistance against the black-clad London SS dispatched by King Vortigern (Jude Law, who was Watson in two Ritchie pillagings of the Sherlock Holmes canon).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vortigern, a late addition to Arthurian fable, is here depicted as part Hitler, part Lear, and part Herod — plus a big dollop of every fairy-tale ruler foolish enough to call on occult powers to aid in usurping and keeping a throne. Law has some melodramatic fun with the role, but not enough.\u003c/p>\n\u003cp>\u003cem>King Arthur\u003c/em> might have been as successful — which is to say, moderately — as the director’s Sherlock romps if only the demons, mages, and hawks the size of SUVs had been kept in the background. But Ritchie (who co-scripted with Joby Harold and Lionel Wigram) opens the tale in full sword-and-sorcery mode, with an assault on Camelot led by bad wizard Mordred. While that’s happening, Vortigern is down in the basement, murdering Uther (Eric Bana), the true king and Arthur’s dad.\u003c/p>\n\u003cp>This dreary prologue is a bid for fans of \u003cem>The Lord of the Rings\u003c/em>, Harry Potter, and all that, but its CGI-crowded action barely rises to the level of \u003cem>The Great Wall.\u003c/em> When little Arthur escapes the carnage, floating impossibly down the Thames to Londonium, he’s in a better place — and a better movie.\u003c/p>\n\u003cp>Perhaps the worst possible outcome would be for a no-named ethereal sorceress (Franco-Spanish actress Astrid Berges-Frisbey) to persuade our scruffy hero to return to the magic kingdom. That is, of course, what happens. The filmmakers (who include executive producer Steve Mnuchin, now treasury secretary of Mordor) are apparently convinced of viewers’ insatiable appetite for massive yet weightless supernatural monsters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While making a hash of a national legend, Ritchie is at least enough of a patriot to have filmed \u003cem>King Arthur\u003c/em> entirely in the U.K. Yet he insists on having the king of the Britons refer to his country as “England.” The pseudo-historical Arthur, who supposedly protected his people from the Angles and Saxons, would have Excalibur-ed him for that one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "German Publishers' Lawsuit Against Google Threatens to Backfire",
"headTitle": "German Publishers’ Lawsuit Against Google Threatens to Backfire | KQED",
"content": "\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \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=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \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=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’ve known for a \u003ca href=\"http://www.billboard.com/articles/business/7646992/grammy-awards-naras-buys-manhattan-property\" target=\"_blank\" rel=\"noopener\">few months now\u003c/a> that the Recording Academy was \u003cem>probably\u003c/em> planning a return to New York for next year’s Grammy Awards. Now we know for sure.\u003c/p>\n\u003cp>“We welcome the Grammy Awards back to New York City with open arms,” said New York mayor Bill de Blasio in a statement, “and we look forward to continuing to partner with a music industry that supports access and empowerment in the arts.”\u003c/p>\n\u003cp>The show — the Grammys first New York ceremony since 2003 — is scheduled for January 28, 2018 and will be held at Madison Square Garden. To mark the occasion, the Academy hired Spike Lee to direct a whirling tribute to the city’s indelible musical legacy featuring Q-Tip of A Tribe Called Quest, Maxwell, Nile Rogers, Cyndi Lauper and Joan Jett. (What, no Philip Glass?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6cGh_8wuL1U\u003c/p>\n\u003cp>Shot in high-contrast black-and-white, the promo highlights New York’s black musical history … which is nice, but we all know that the Grammys have struggled to properly acknowledge non-white music in their present moment, whatever it may be. The problem, \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/14/515024057/the-problem-with-the-grammys-is-not-a-problem-we-can-fix\">addressed eloquently\u003c/a> by Ann Powers after this year’s show, will likely not be fully salved eight months from now — but here’s to hoping. \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=Grammy+Awards+Switch+Coasts%2C+Return+To+New+York&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Sir Mix-a-Lot on 25 Years of 'Baby Got Back'",
"headTitle": "Sir Mix-a-Lot on 25 Years of ‘Baby Got Back’ | KQED",
"content": "\u003cp>Twenty-five years ago Tuesday, a career-defining single was born — and with it, endless sitcom jokes and rap homages. It was referenced in \u003cem>Sing\u003c/em>, the 2016 animated children’s movie, and in \u003cem>Shrek\u003c/em> years before that. But when it debuted in 1992, there were those who took it to heart as an anthem of body positivity.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=kY84MRnxVzo\" target=\"_blank\" rel=\"noopener\">Baby Got Back\u003c/a>” begins kind of a heartbreaking scene: a white woman talking to her friend Becky, straight up mocking a black woman. The man behind the song, Anthony Ray — better known as Sir Mix-a-Lot — says he didn’t make that up.\u003c/p>\n\u003cp>“It was like a blown-out, glorified version of what was actually being said at that time,” he says. “Basically, pop culture was waif-thin, heroin addict, big hair, fake boobs — you know, that was what they thought beautiful was. And because of the way it was discussed publicly, it made women who had naturally curvy bodies … run around with sweaters wrapped around their waist.”\u003c/p>\n\u003cp>“When I heard it, I just felt so — it was so affirming,” says Erin Aubry Kaplan. In the mid-’90s, Kaplan was staff writer at \u003cem>LA Weekly\u003c/em>. She and wrote a big feature article about the paradoxical way black women’s butts were seen — using “Baby Got Back” as an epigraph.\u003c/p>\n\u003cp>“Every day, my butt wears \u003cem>me\u003c/em> tolerably well, I’d like to think,” her piece went, “and has ever since I came full up on puberty about 20 years ago and had to wrestle it back into the Levi’s 501s it had barely put up with anyway.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kaplan says she admired the way the “Baby Got Back” cut through the timidity people had talking about that part of the body: “It was saying to me and other black women, you know what, you have a great shape and white people think that too. ‘Even white boys got to shout.'”\u003c/p>\n\u003cp>The song was pretty clear about who Mix-a-Lot thought was to blame, calling out magazines like \u003cem>Cosmopolitan\u003c/em> and \u003cem>Playboy\u003c/em> for pushing a very specific worldview of what women should look like. Have things changed in the past quarter-century? A little, says Ashley Weatherford, a beauty editor at \u003cem>New York\u003c/em> magazine’s fashion site, The Cut.\u003c/p>\n\u003cp>“It’s been a long time coming, but I think there’s certainly an element, especially within the magazine space, of embracing a diversity of body sizes,” Weatherford says, though she thinks sites like hers might be ahead of the curve on that. She adds that black women didn’t really need Sir Mix-a-Lot to take up this particular fight — “but that doesn’t mean it’s not nice.”\u003c/p>\n\u003cp>As for Mix-a-Lot himself, he says he hasn’t put the song behind him yet, and still plays it when he gets a chance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I do bar mitzvahs? No,” he says, laughing. “You know, you’ve gotta draw a line somewhere. But when you’re in front of a big crowd — I know what they’re there to see.” \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=Sir+Mix-a-Lot+On+25+Years+Of+%27Baby+Got+Back%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-five years ago Tuesday, a career-defining single was born — and with it, endless sitcom jokes and rap homages. It was referenced in \u003cem>Sing\u003c/em>, the 2016 animated children’s movie, and in \u003cem>Shrek\u003c/em> years before that. But when it debuted in 1992, there were those who took it to heart as an anthem of body positivity.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=kY84MRnxVzo\" target=\"_blank\" rel=\"noopener\">Baby Got Back\u003c/a>” begins kind of a heartbreaking scene: a white woman talking to her friend Becky, straight up mocking a black woman. The man behind the song, Anthony Ray — better known as Sir Mix-a-Lot — says he didn’t make that up.\u003c/p>\n\u003cp>“It was like a blown-out, glorified version of what was actually being said at that time,” he says. “Basically, pop culture was waif-thin, heroin addict, big hair, fake boobs — you know, that was what they thought beautiful was. And because of the way it was discussed publicly, it made women who had naturally curvy bodies … run around with sweaters wrapped around their waist.”\u003c/p>\n\u003cp>“When I heard it, I just felt so — it was so affirming,” says Erin Aubry Kaplan. In the mid-’90s, Kaplan was staff writer at \u003cem>LA Weekly\u003c/em>. She and wrote a big feature article about the paradoxical way black women’s butts were seen — using “Baby Got Back” as an epigraph.\u003c/p>\n\u003cp>“Every day, my butt wears \u003cem>me\u003c/em> tolerably well, I’d like to think,” her piece went, “and has ever since I came full up on puberty about 20 years ago and had to wrestle it back into the Levi’s 501s it had barely put up with anyway.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kaplan says she admired the way the “Baby Got Back” cut through the timidity people had talking about that part of the body: “It was saying to me and other black women, you know what, you have a great shape and white people think that too. ‘Even white boys got to shout.'”\u003c/p>\n\u003cp>The song was pretty clear about who Mix-a-Lot thought was to blame, calling out magazines like \u003cem>Cosmopolitan\u003c/em> and \u003cem>Playboy\u003c/em> for pushing a very specific worldview of what women should look like. Have things changed in the past quarter-century? A little, says Ashley Weatherford, a beauty editor at \u003cem>New York\u003c/em> magazine’s fashion site, The Cut.\u003c/p>\n\u003cp>“It’s been a long time coming, but I think there’s certainly an element, especially within the magazine space, of embracing a diversity of body sizes,” Weatherford says, though she thinks sites like hers might be ahead of the curve on that. She adds that black women didn’t really need Sir Mix-a-Lot to take up this particular fight — “but that doesn’t mean it’s not nice.”\u003c/p>\n\u003cp>As for Mix-a-Lot himself, he says he hasn’t put the song behind him yet, and still plays it when he gets a chance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I do bar mitzvahs? No,” he says, laughing. “You know, you’ve gotta draw a line somewhere. But when you’re in front of a big crowd — I know what they’re there to see.” \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=Sir+Mix-a-Lot+On+25+Years+Of+%27Baby+Got+Back%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following a wildfire in the Great Smoky Mountains region of her native Tennessee late last year which left hundreds homeless, country legend Dolly Parton \u003ca href=\"https://www.nytimes.com/2016/12/01/us/dolly-parton-tennessee-fires.html\" target=\"_blank\" rel=\"noopener\">immediately launched\u003c/a> the My People Fund, promising to give displaced families a $1,000-per-month stipend sourced from outside donations and Parton’s own foundation. As of last Friday (May 5), the last of the checks have been cut — Parton had said from the outset that families would receive six months of support — with a total of $8.9 million having been distributed to the fire victims, according to \u003ca href=\"https://dollyparton.com/life-and-career/dollys-my-people-fund-finishes-smokies-strong/14053\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a>.\u003c/p>\n\u003cp>“We started the distribution in December right around the longest night of the year,” writes Parton, “and I know it felt dark and lonely for so many. But here we are in spring, a time for renewal and a time for hope. I know the money helps but most of all I want people to know we will always provide you a shoulder to lean on.”\u003c/p>\n\u003cp>Parton’s My People Fund also announced a partnership with the \u003ca href=\"http://www.mountaintough.org/\" target=\"_blank\" rel=\"noopener\">Mountain Tough Recovery Team\u003c/a> to provide an additional $3 million in support over the coming months. Additionally the Wildfire Scholarship Fund, separate from My People, will provide $4,500 scholarships to all junior and senior high school students who lost their homes to the fire.\u003c/p>\n\u003cp>“We want to provide a hand up to all those families that have lost everything in the fires,” Parton said in \u003ca href=\"https://dollyparton.com/latest-news/page/5/\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> urging support posted immediately after the fires. An update posted to her website in mid-December said the Fund had raised over $9 million following a telethon hosted by Parton which featured Kenny Rogers, Chris Stapleton and Cyndi Lauper. Four days later she announced “hundreds” of checks had \u003ca href=\"https://dollyparton.com/dollywood-foundation/dollywood-foundation-distributes-my-people-fund-checks/13400\" target=\"_blank\" rel=\"noopener\">been distributed\u003c/a>.\u003c/p>\n\u003cp>Donations continued to arrive through January and February. In a meeting of the Pigeon Forge Hospitality Association, Dollywood Foundation president David Dotson said the fund was currently issuing 921 families monthly checks as of early March, according to the \u003cem>\u003ca href=\"http://www.knoxnews.com/story/money/business/2017/03/09/dollys-my-people-fund-issues-checks-921-sevier-county-wildfire-victims/98947324/\" target=\"_blank\" rel=\"noopener\">Knoxville News Sentinel\u003c/a>\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=Dolly+Parton+Provides+Fire+Victims+%27Shoulder+To+Lean+On%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a wildfire in the Great Smoky Mountains region of her native Tennessee late last year which left hundreds homeless, country legend Dolly Parton \u003ca href=\"https://www.nytimes.com/2016/12/01/us/dolly-parton-tennessee-fires.html\" target=\"_blank\" rel=\"noopener\">immediately launched\u003c/a> the My People Fund, promising to give displaced families a $1,000-per-month stipend sourced from outside donations and Parton’s own foundation. As of last Friday (May 5), the last of the checks have been cut — Parton had said from the outset that families would receive six months of support — with a total of $8.9 million having been distributed to the fire victims, according to \u003ca href=\"https://dollyparton.com/life-and-career/dollys-my-people-fund-finishes-smokies-strong/14053\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a>.\u003c/p>\n\u003cp>“We started the distribution in December right around the longest night of the year,” writes Parton, “and I know it felt dark and lonely for so many. But here we are in spring, a time for renewal and a time for hope. I know the money helps but most of all I want people to know we will always provide you a shoulder to lean on.”\u003c/p>\n\u003cp>Parton’s My People Fund also announced a partnership with the \u003ca href=\"http://www.mountaintough.org/\" target=\"_blank\" rel=\"noopener\">Mountain Tough Recovery Team\u003c/a> to provide an additional $3 million in support over the coming months. Additionally the Wildfire Scholarship Fund, separate from My People, will provide $4,500 scholarships to all junior and senior high school students who lost their homes to the fire.\u003c/p>\n\u003cp>“We want to provide a hand up to all those families that have lost everything in the fires,” Parton said in \u003ca href=\"https://dollyparton.com/latest-news/page/5/\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> urging support posted immediately after the fires. An update posted to her website in mid-December said the Fund had raised over $9 million following a telethon hosted by Parton which featured Kenny Rogers, Chris Stapleton and Cyndi Lauper. Four days later she announced “hundreds” of checks had \u003ca href=\"https://dollyparton.com/dollywood-foundation/dollywood-foundation-distributes-my-people-fund-checks/13400\" target=\"_blank\" rel=\"noopener\">been distributed\u003c/a>.\u003c/p>\n\u003cp>Donations continued to arrive through January and February. In a meeting of the Pigeon Forge Hospitality Association, Dollywood Foundation president David Dotson said the fund was currently issuing 921 families monthly checks as of early March, according to the \u003cem>\u003ca href=\"http://www.knoxnews.com/story/money/business/2017/03/09/dollys-my-people-fund-issues-checks-921-sevier-county-wildfire-victims/98947324/\" target=\"_blank\" rel=\"noopener\">Knoxville News Sentinel\u003c/a>\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=Dolly+Parton+Provides+Fire+Victims+%27Shoulder+To+Lean+On%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Creating a hit musical which appeals to family audiences is kind of Broadway’s holy grail — think current long-running shows, like \u003cem>The Lion King\u003c/em> and \u003cem>Wicked,\u003c/em> which have run for decades\u003cem>, \u003c/em>or earlier shows like \u003cem>Cats\u003c/em> and \u003cem>Annie\u003c/em>. Critics don’t always give these shows good reviews, but that doesn’t seem to matter much. Now, two new musicals are aiming to get the kid stamp of approval.\u003c/p>\n\u003cp>On a recent Friday evening families poured onto 46th Street after a performance of \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Charlie and the Chocolate Factory\u003c/a>. Taylor Ponte, a tween from Manhattan, offered her thoughts: “I liked it a lot. And I liked the part where she blew up like a balloon. I liked all of it.”\u003c/p>\n\u003cp>This kind of reaction is why Warner Bros., which is producing the show, brought it to Broadway. The adaptation of Roald Dahl’s beloved children’s book could be something of a golden ticket for them — creating a hit which runs for years, goes on tours in the U.S. and overseas, and sells tons of merchandise. But some of the critics \u003ca href=\"http://www.hollywoodreporter.com/review/charlie-chocolate-factory-theater-996618\" target=\"_blank\" rel=\"noopener\">weren’t impressed\u003c/a>.\u003c/p>\n\u003cp>“I loathed the show,” says David Rooney, chief theater critic for \u003cem>The Hollywood Reporter\u003c/em>. “I thought it was a complete mess.”\u003c/p>\n\u003cp>Family musicals have been big business on Broadway, ever since Disney presented a stage adaptation of \u003cem>Beauty and the Beast\u003c/em> in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of people roll their eyes about what Disney does on Broadway,” says Rooney. “But I think for the most part they do it very well.”\u003c/p>\n\u003cp>Disney shows like \u003cem>The Lion King\u003c/em> and \u003cem>Aladdin \u003c/em>give audiences a lot of bang for their buck.\u003c/p>\n\u003cp>“I think a family buying Broadway tickets want to see what they’re spending their money on,” Rooney explains. “They want to see a production that has energy and that has spectacle and that will dazzle the kids and I think Disney knows how to do that. They work hard at doing that. And I would imagine that \u003cem>Frozen\u003c/em> is going to be along those lines.”\u003c/p>\n\u003cp>\u003cem>Frozen\u003c/em> doesn’t open until next spring, but this spring, \u003cem>Charlie and the Chocolate Factory\u003c/em> is duking it out with a stage adaptation of \u003cem>Anastasia\u003c/em>, the 1997 Fox animated film — Rooney gave that one \u003ca href=\"http://www.hollywoodreporter.com/review/anastasia-theater-review-996856\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>There’s a real fluid cinematic feel to it, but the material is what it is,” he says. “It’s kind of clunky. It’s kind of old fashioned. It’s a little bit kitsch.”\u003c/p>\n\u003cp>But it’s been selling out, so it could be critic-proof — and Rooney admits it. When he saw \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Anastasia\u003c/a>\u003cem>,\u003c/em> the girls in the audience responded — loudly — to many moments.\u003c/p>\n\u003cfigure id=\"attachment_13186599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-800x531.jpg\" alt=\"'Charlie and the Chocolate Factory' has already announced plans for a national tour\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13186599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Charlie and the Chocolate Factory’ has already announced plans for a national tour \u003ccite>(Joan Marcus/Polk & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And kids seem to like \u003cem>Charlie and the Chocolate Factory,\u003c/em> too. That show has a \u003cem>mostly\u003c/em> new score by the songwriting team of Scott Wittman and Marc Shaiman, who wrote the successful musical \u003cem>Hairspray\u003c/em>. They say adapting a film musical that people grew up with has its own set of expectations.\u003c/p>\n\u003cp>Shaiman says when he and Wittman told friends they were writing the score to a new version of \u003cem>Charlie and the Chocolate Factory\u003c/em> those friends would inevitably start singing favorite songs from the 1971 Gene Wilder film \u003cem>Willy Wonka & the Chocolate Factory.\u003c/em>\u003c/p>\n\u003cp>When \u003cem>Charlie\u003c/em> debuted in London it featured the song “Pure Imagination,” from the 1971 film. For the heavily-revised Broadway version, other songs have also been added. Jack O’Brien, the show’s new director, says he used “Pure Imagination” as a kind of mantra, for the less extravagant Broadway production.\u003c/p>\n\u003cp>“I think that we’ve embraced a different theme here,” O’Brien explains. “Which is the idea of imagination. Charlie and Grandpa Joe talk about, you know, we both make something out of nothing. That really attracted me to this version of the story.”\u003c/p>\n\u003cp>\u003cem>Charlie and the Chocolate Factory\u003c/em> has been doing bang-up business, too. It’s the kids — and the parents who pay for the tickets — who will ultimately decide if \u003cem>Anastasia\u003c/em> and \u003cem>Charlie and the Chocolate Factory \u003c/em>have long healthy runs. Eileen Young, from Fairfield, Conn., brought her 7-year-old daughter and a friend.\u003c/p>\n\u003cp>“It’s \u003cem>Charlie and the Chocolate Factory! \u003c/em>How do you \u003cem>not\u003c/em> come?” Young says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Bros. is so confident in the show’s appeal to family audiences, that they’ve already announced \u003cem>Charlie and the Chocolate Factory\u003c/em>‘s national tour. \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=When+It+Comes+To+Family+Musicals%2C+Kids%27+Opinions+Matter+More+Than+Critics%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Normally, critical reviews can kill a Broadway show, but not so for kid-focused musicals. \u003cem>Anastasia \u003c/em>and \u003cem>Charlie and the Chocolate Factory \u003c/em>are currently on Broadway, vying for the kid seal of approval.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creating a hit musical which appeals to family audiences is kind of Broadway’s holy grail — think current long-running shows, like \u003cem>The Lion King\u003c/em> and \u003cem>Wicked,\u003c/em> which have run for decades\u003cem>, \u003c/em>or earlier shows like \u003cem>Cats\u003c/em> and \u003cem>Annie\u003c/em>. Critics don’t always give these shows good reviews, but that doesn’t seem to matter much. Now, two new musicals are aiming to get the kid stamp of approval.\u003c/p>\n\u003cp>On a recent Friday evening families poured onto 46th Street after a performance of \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Charlie and the Chocolate Factory\u003c/a>. Taylor Ponte, a tween from Manhattan, offered her thoughts: “I liked it a lot. And I liked the part where she blew up like a balloon. I liked all of it.”\u003c/p>\n\u003cp>This kind of reaction is why Warner Bros., which is producing the show, brought it to Broadway. The adaptation of Roald Dahl’s beloved children’s book could be something of a golden ticket for them — creating a hit which runs for years, goes on tours in the U.S. and overseas, and sells tons of merchandise. But some of the critics \u003ca href=\"http://www.hollywoodreporter.com/review/charlie-chocolate-factory-theater-996618\" target=\"_blank\" rel=\"noopener\">weren’t impressed\u003c/a>.\u003c/p>\n\u003cp>“I loathed the show,” says David Rooney, chief theater critic for \u003cem>The Hollywood Reporter\u003c/em>. “I thought it was a complete mess.”\u003c/p>\n\u003cp>Family musicals have been big business on Broadway, ever since Disney presented a stage adaptation of \u003cem>Beauty and the Beast\u003c/em> in 1994.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of people roll their eyes about what Disney does on Broadway,” says Rooney. “But I think for the most part they do it very well.”\u003c/p>\n\u003cp>Disney shows like \u003cem>The Lion King\u003c/em> and \u003cem>Aladdin \u003c/em>give audiences a lot of bang for their buck.\u003c/p>\n\u003cp>“I think a family buying Broadway tickets want to see what they’re spending their money on,” Rooney explains. “They want to see a production that has energy and that has spectacle and that will dazzle the kids and I think Disney knows how to do that. They work hard at doing that. And I would imagine that \u003cem>Frozen\u003c/em> is going to be along those lines.”\u003c/p>\n\u003cp>\u003cem>Frozen\u003c/em> doesn’t open until next spring, but this spring, \u003cem>Charlie and the Chocolate Factory\u003c/em> is duking it out with a stage adaptation of \u003cem>Anastasia\u003c/em>, the 1997 Fox animated film — Rooney gave that one \u003ca href=\"http://www.hollywoodreporter.com/review/anastasia-theater-review-996856\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>There’s a real fluid cinematic feel to it, but the material is what it is,” he says. “It’s kind of clunky. It’s kind of old fashioned. It’s a little bit kitsch.”\u003c/p>\n\u003cp>But it’s been selling out, so it could be critic-proof — and Rooney admits it. When he saw \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Anastasia\u003c/a>\u003cem>,\u003c/em> the girls in the audience responded — loudly — to many moments.\u003c/p>\n\u003cfigure id=\"attachment_13186599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-800x531.jpg\" alt=\"'Charlie and the Chocolate Factory' has already announced plans for a national tour\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13186599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Charlie and the Chocolate Factory’ has already announced plans for a national tour \u003ccite>(Joan Marcus/Polk & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And kids seem to like \u003cem>Charlie and the Chocolate Factory,\u003c/em> too. That show has a \u003cem>mostly\u003c/em> new score by the songwriting team of Scott Wittman and Marc Shaiman, who wrote the successful musical \u003cem>Hairspray\u003c/em>. They say adapting a film musical that people grew up with has its own set of expectations.\u003c/p>\n\u003cp>Shaiman says when he and Wittman told friends they were writing the score to a new version of \u003cem>Charlie and the Chocolate Factory\u003c/em> those friends would inevitably start singing favorite songs from the 1971 Gene Wilder film \u003cem>Willy Wonka & the Chocolate Factory.\u003c/em>\u003c/p>\n\u003cp>When \u003cem>Charlie\u003c/em> debuted in London it featured the song “Pure Imagination,” from the 1971 film. For the heavily-revised Broadway version, other songs have also been added. Jack O’Brien, the show’s new director, says he used “Pure Imagination” as a kind of mantra, for the less extravagant Broadway production.\u003c/p>\n\u003cp>“I think that we’ve embraced a different theme here,” O’Brien explains. “Which is the idea of imagination. Charlie and Grandpa Joe talk about, you know, we both make something out of nothing. That really attracted me to this version of the story.”\u003c/p>\n\u003cp>\u003cem>Charlie and the Chocolate Factory\u003c/em> has been doing bang-up business, too. It’s the kids — and the parents who pay for the tickets — who will ultimately decide if \u003cem>Anastasia\u003c/em> and \u003cem>Charlie and the Chocolate Factory \u003c/em>have long healthy runs. Eileen Young, from Fairfield, Conn., brought her 7-year-old daughter and a friend.\u003c/p>\n\u003cp>“It’s \u003cem>Charlie and the Chocolate Factory! \u003c/em>How do you \u003cem>not\u003c/em> come?” Young says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Bros. is so confident in the show’s appeal to family audiences, that they’ve already announced \u003cem>Charlie and the Chocolate Factory\u003c/em>‘s national tour. \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=When+It+Comes+To+Family+Musicals%2C+Kids%27+Opinions+Matter+More+Than+Critics%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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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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"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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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.",
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"possible": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"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": {
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