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"content": "\u003cp>Imagine city planning as a contact sport and you have the gist of Matt Tyrnauer’s documentary, \u003cem>Citizen Jane: Battle for the City\u003c/em>. The film chronicles the struggle between two mid-20th century worldviews: that of Robert Moses, who preached a cure for what ailed American cities that amounted to “bulldoze and replace,” and the less destructive prescriptions of writer/activist Jane Jacobs, who challenged the whole notion of urban renewal in her game-changing book, \u003cem>The Death and Life of Great American Cities\u003c/em>.\u003c/p>\n\u003cp>She was the David to his Goliath. As New York’s unelected but powerful parks commissioner, transit czar and head of public works, Moses was intent on creating the city of tomorrow — a place of glistening, angular high-rises, soaring bridges, and superhighways. And in the 1950s and ’60s, he had the muscle to make them happen. As he talks of cutting out the “cancer” of slums, the images on-screen are of whole blocks being demolished by wrecking ball and explosives.\u003c/p>\n\u003cp>But it’s a feature of such top-down approaches to city planning that when you take a view from the clouds, the city’s inhabitants become mere specks on your architectural models.\u003c/p>\n\u003cp>https://youtu.be/hKjkjntspfA\u003c/p>\n\u003cp>“Today our greatest single problem is tenant removal,” Moses intones matter-of-factly. “You have to move people out of the way of a slum clearance project, and a lot of them are not gonna like it.” Grant the man a gift for understatement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While he designed crisp city blocks from on high, Jane Jacobs was looking at New York from street level. To her a city wasn’t about buildings — it was about people. Planners like Moses may have seen newsstands and folks sitting on front stoops as clutter, but Jacobs saw a vibrant streetscape.\u003c/p>\n\u003cp>They were natural antagonists, these two. And with archival footage and talking heads, the filmmakers lay out the differences in their outlooks, and then revisit their biggest battles. Over, say, the Moses plan to declare much of Greenwich Village a slum, so he could run traffic — think of his neighborhood-killing Cross Bronx Expressway — through the center of Washington Square.\u003c/p>\n\u003cp>Jacobs had just published her book \u003cem>Death and Life\u003c/em> at that point, and she lived in Greenwich Village. Moses, foolishly, termed her just a mother with a baby carriage. He would soon learn not to underestimate mothers.\u003c/p>\n\u003cp>“There is nothing more inert than a planning office,” Jacobs says in a voiceover. “It gets going in one direction and it is never going to change of its own accord.” So she made it her business to “frustrate planners.”\u003c/p>\n\u003cp>The film documents how she mobilized the neighborhood, and then the politicians, and proved that the people of Greenwich Village could fight city hall.\u003c/p>\n\u003cp>But the Moses doctrine of bulldoze-and-replace was making a lot of money for developers, and it was spreading. Cities everywhere followed his lead, ripping out run-down neighborhoods to construct soulless, low-income high-rises that no one wanted.\u003c/p>\n\u003cp>The film shows the result — Pruitt-Igoe in St. Louis, Cabrini-Green in Chicago — huge, sterile towers surrounded by ribbons of concrete and what sketches depicted as parkland but what were, in reality, the equivalent of empty lots. Jacobs predicted correctly that these walled-in green spaces would prove more dangerous than the busy streets they replaced because no one would ever be in them.\u003c/p>\n\u003cp>“This is not the re-building of cities” she wrote. “This is the sacking of cities.”\u003c/p>\n\u003cp>It would be hard to watch \u003cem>Citizen Jane: Battle for the City\u003c/em> without making connections to battles raging today: politicians who want to build things — walls, infrastructure — to clean up clutter and make people conform.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jacobs argued that what looks to officialdom like disorder is actually what makes a crowded human landscape function — it’s just a more complex order. This compelling documentary lets you see the beauty she found in that complexity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine city planning as a contact sport and you have the gist of Matt Tyrnauer’s documentary, \u003cem>Citizen Jane: Battle for the City\u003c/em>. The film chronicles the struggle between two mid-20th century worldviews: that of Robert Moses, who preached a cure for what ailed American cities that amounted to “bulldoze and replace,” and the less destructive prescriptions of writer/activist Jane Jacobs, who challenged the whole notion of urban renewal in her game-changing book, \u003cem>The Death and Life of Great American Cities\u003c/em>.\u003c/p>\n\u003cp>She was the David to his Goliath. As New York’s unelected but powerful parks commissioner, transit czar and head of public works, Moses was intent on creating the city of tomorrow — a place of glistening, angular high-rises, soaring bridges, and superhighways. And in the 1950s and ’60s, he had the muscle to make them happen. As he talks of cutting out the “cancer” of slums, the images on-screen are of whole blocks being demolished by wrecking ball and explosives.\u003c/p>\n\u003cp>But it’s a feature of such top-down approaches to city planning that when you take a view from the clouds, the city’s inhabitants become mere specks on your architectural models.\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/hKjkjntspfA'\n title='//www.youtube.com/embed/hKjkjntspfA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Today our greatest single problem is tenant removal,” Moses intones matter-of-factly. “You have to move people out of the way of a slum clearance project, and a lot of them are not gonna like it.” Grant the man a gift for understatement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While he designed crisp city blocks from on high, Jane Jacobs was looking at New York from street level. To her a city wasn’t about buildings — it was about people. Planners like Moses may have seen newsstands and folks sitting on front stoops as clutter, but Jacobs saw a vibrant streetscape.\u003c/p>\n\u003cp>They were natural antagonists, these two. And with archival footage and talking heads, the filmmakers lay out the differences in their outlooks, and then revisit their biggest battles. Over, say, the Moses plan to declare much of Greenwich Village a slum, so he could run traffic — think of his neighborhood-killing Cross Bronx Expressway — through the center of Washington Square.\u003c/p>\n\u003cp>Jacobs had just published her book \u003cem>Death and Life\u003c/em> at that point, and she lived in Greenwich Village. Moses, foolishly, termed her just a mother with a baby carriage. He would soon learn not to underestimate mothers.\u003c/p>\n\u003cp>“There is nothing more inert than a planning office,” Jacobs says in a voiceover. “It gets going in one direction and it is never going to change of its own accord.” So she made it her business to “frustrate planners.”\u003c/p>\n\u003cp>The film documents how she mobilized the neighborhood, and then the politicians, and proved that the people of Greenwich Village could fight city hall.\u003c/p>\n\u003cp>But the Moses doctrine of bulldoze-and-replace was making a lot of money for developers, and it was spreading. Cities everywhere followed his lead, ripping out run-down neighborhoods to construct soulless, low-income high-rises that no one wanted.\u003c/p>\n\u003cp>The film shows the result — Pruitt-Igoe in St. Louis, Cabrini-Green in Chicago — huge, sterile towers surrounded by ribbons of concrete and what sketches depicted as parkland but what were, in reality, the equivalent of empty lots. Jacobs predicted correctly that these walled-in green spaces would prove more dangerous than the busy streets they replaced because no one would ever be in them.\u003c/p>\n\u003cp>“This is not the re-building of cities” she wrote. “This is the sacking of cities.”\u003c/p>\n\u003cp>It would be hard to watch \u003cem>Citizen Jane: Battle for the City\u003c/em> without making connections to battles raging today: politicians who want to build things — walls, infrastructure — to clean up clutter and make people conform.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jacobs argued that what looks to officialdom like disorder is actually what makes a crowded human landscape function — it’s just a more complex order. This compelling documentary lets you see the beauty she found in that complexity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jonathan Demme, Director of 'Silence of The Lambs,' Dies at 73",
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"content": "\u003cp>For more than four decades, Jonathan Demme threaded a diverse path through the film industry — beginning as a publicist, filming everything from documentaries to comedic sendups, and finally earning the status of Oscar-winning elder statesman. He was 73.\u003c/p>\n\u003cp>The director died Wednesday in Manhattan from complications of esophageal cancer, his publicist, 42 West, confirmed the death to NPR.\u003c/p>\n\u003cp>Demme made films such as \u003cem>The Silence of the Lambs\u003c/em> and \u003cem>Stop Making Sense \u003c/em>that have helped define their respective genres.\u003c/p>\n\u003cp>Yet despite these accomplishments — which also include the film Philadelphia — Demme never set out to become a director. Far from it, in fact: He wanted to be a veterinarian. But, \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=16324665\" target=\"_blank\" rel=\"noopener\">as he told NPR in 2007\u003c/a>, that goal ran into trouble when he flunked out of college chemistry pretty much immediately.\u003c/p>\n\u003cp>After a semester of writing movie review for his campus newspaper, he left college for a publicity job with B-movie master Roger Corman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I met Roger Corman, who said, ‘Well, you can write press releases? I’m starting a new company. I need movies. Can you write a screenplay?’ ” Demme recalled.\u003c/p>\n\u003cp>“I was about 25 years old at the time and I said, I would love to try that. I had had no aspirations to be a filmmaker or a writer. Until then, I was thrilled to be working in the movie business as a publicist. I would have been perfectly happy to do that forever.”\u003c/p>\n\u003cp>But Corman loved his screenplays and eventually recommended that Demme get behind the camera, too. As a director getting his start in the early 1970s, Demme infused his first films Corman’s over-the-top sensibilities, but as he set out on his own later in the decade, he began to find a more distinctive eye — hewing closer to intimate character study.\u003c/p>\n\u003cp>In the 1980s Demme dabbled in a variety of forms, making a mark in documentary filmmaking — particularly with \u003cem>Stop Making Sense\u003c/em>, a seminal 1984 concert film for the Talking Heads — and in comedy with films like \u003cem>Something Wild \u003c/em>and the gangster spoof \u003cem>Married to the Mob\u003c/em>.\u003c/p>\n\u003cp>“I’ve always followed my enthusiasm,” Demme said of the variety in his career. “Whether the pictures have turned out good or not is one thing — but I’ve always had a lot of enthusiasm for the project at hand.”\u003c/p>\n\u003cp>It was a pair of prestige dramas that brought Demme his greatest recognition — starting with \u003cem>The Silence of the Lambs\u003c/em>, a horror film that \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1992\" target=\"_blank\" rel=\"noopener\">swept the 1992 Academy Awards \u003c/a>and earned Demme the Oscars for best director and best picture.\u003c/p>\n\u003cp>The movie was also a hit at the box office, which, as Demme \u003ca href=\"http://www.rollingstone.com/movies/features/the-rolling-stone-interview-jonathan-demme-19940324\" target=\"_blank\" rel=\"noopener\">told Rolling Stone in 1994\u003c/a>, came as a significant relief.\u003c/p>\n\u003cp>“At certain points, I was afraid there was something — a missing chink of skill — that was going to prevent me from having a movie that was financially successful. That frightened me,” Demme said at the time. “So when \u003cem>Silence of the Lambs\u003c/em> became an unqualified success, I took a huge sigh of relief. I mean, I can’t tell you how wonderful that felt.”\u003c/p>\n\u003cp>He followed up that film’s success with \u003cem>Philadelphia\u003c/em>, which starred Tom Hanks as a gay lawyer suffering from AIDS and fighting for his legal rights. The drama also earned a raft of Academy Award nominations, including a best actor win for Hanks.\u003c/p>\n\u003cp>Still, as Demme told NPR in 2007, there was one form that continued to draw him back to the camera: documentaries. He said it was the form’s endless capacity to surprise that best characterized what he loved about film in general.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The excitement of waiting into quote-unquote ‘reality’ and just finding out what happens — and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging — is a great, great thrill.” \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=Jonathan+Demme%2C+Director+Of+%27Silence+Of+The+Lambs%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than four decades, Jonathan Demme threaded a diverse path through the film industry — beginning as a publicist, filming everything from documentaries to comedic sendups, and finally earning the status of Oscar-winning elder statesman. He was 73.\u003c/p>\n\u003cp>The director died Wednesday in Manhattan from complications of esophageal cancer, his publicist, 42 West, confirmed the death to NPR.\u003c/p>\n\u003cp>Demme made films such as \u003cem>The Silence of the Lambs\u003c/em> and \u003cem>Stop Making Sense \u003c/em>that have helped define their respective genres.\u003c/p>\n\u003cp>Yet despite these accomplishments — which also include the film Philadelphia — Demme never set out to become a director. Far from it, in fact: He wanted to be a veterinarian. But, \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=16324665\" target=\"_blank\" rel=\"noopener\">as he told NPR in 2007\u003c/a>, that goal ran into trouble when he flunked out of college chemistry pretty much immediately.\u003c/p>\n\u003cp>After a semester of writing movie review for his campus newspaper, he left college for a publicity job with B-movie master Roger Corman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I met Roger Corman, who said, ‘Well, you can write press releases? I’m starting a new company. I need movies. Can you write a screenplay?’ ” Demme recalled.\u003c/p>\n\u003cp>“I was about 25 years old at the time and I said, I would love to try that. I had had no aspirations to be a filmmaker or a writer. Until then, I was thrilled to be working in the movie business as a publicist. I would have been perfectly happy to do that forever.”\u003c/p>\n\u003cp>But Corman loved his screenplays and eventually recommended that Demme get behind the camera, too. As a director getting his start in the early 1970s, Demme infused his first films Corman’s over-the-top sensibilities, but as he set out on his own later in the decade, he began to find a more distinctive eye — hewing closer to intimate character study.\u003c/p>\n\u003cp>In the 1980s Demme dabbled in a variety of forms, making a mark in documentary filmmaking — particularly with \u003cem>Stop Making Sense\u003c/em>, a seminal 1984 concert film for the Talking Heads — and in comedy with films like \u003cem>Something Wild \u003c/em>and the gangster spoof \u003cem>Married to the Mob\u003c/em>.\u003c/p>\n\u003cp>“I’ve always followed my enthusiasm,” Demme said of the variety in his career. “Whether the pictures have turned out good or not is one thing — but I’ve always had a lot of enthusiasm for the project at hand.”\u003c/p>\n\u003cp>It was a pair of prestige dramas that brought Demme his greatest recognition — starting with \u003cem>The Silence of the Lambs\u003c/em>, a horror film that \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1992\" target=\"_blank\" rel=\"noopener\">swept the 1992 Academy Awards \u003c/a>and earned Demme the Oscars for best director and best picture.\u003c/p>\n\u003cp>The movie was also a hit at the box office, which, as Demme \u003ca href=\"http://www.rollingstone.com/movies/features/the-rolling-stone-interview-jonathan-demme-19940324\" target=\"_blank\" rel=\"noopener\">told Rolling Stone in 1994\u003c/a>, came as a significant relief.\u003c/p>\n\u003cp>“At certain points, I was afraid there was something — a missing chink of skill — that was going to prevent me from having a movie that was financially successful. That frightened me,” Demme said at the time. “So when \u003cem>Silence of the Lambs\u003c/em> became an unqualified success, I took a huge sigh of relief. I mean, I can’t tell you how wonderful that felt.”\u003c/p>\n\u003cp>He followed up that film’s success with \u003cem>Philadelphia\u003c/em>, which starred Tom Hanks as a gay lawyer suffering from AIDS and fighting for his legal rights. The drama also earned a raft of Academy Award nominations, including a best actor win for Hanks.\u003c/p>\n\u003cp>Still, as Demme told NPR in 2007, there was one form that continued to draw him back to the camera: documentaries. He said it was the form’s endless capacity to surprise that best characterized what he loved about film in general.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The excitement of waiting into quote-unquote ‘reality’ and just finding out what happens — and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging — is a great, great thrill.” \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=Jonathan+Demme%2C+Director+Of+%27Silence+Of+The+Lambs%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Siegel Stepping Down as 'All Things Considered' Host in 2018",
"headTitle": "Robert Siegel Stepping Down as ‘All Things Considered’ Host in 2018 | KQED",
"content": "\u003cp>Robert Siegel, whose career with NPR has spanned more than four decades, will be stepping down as co-host of NPR’s \u003cem>All Things Considered\u003c/em> next year.\u003c/p>\n\u003cp>One of the most distinctive voices on NPR’s airwaves, Siegel will be leaving the host’s chair in January 2018. He has hosted the show for 30 years.\u003c/p>\n\u003cp>“This is a decision long in the making and not an easy one,” Siegel said. “I’ve had the greatest job I can think of, working with the finest colleagues anyone could ask for, for as long a stretch as I could imagine. But, looking ahead to my 70s (which start all too soon) I feel that it is time for me to begin a new phase of life. Over the next few months, I hope to figure out what that will be.”\u003c/p>\n\u003cp>Siegel started at NPR as a newscaster in 1976. He was a senior editor in NPR’s London bureau and the director of the news and information department before he became host of \u003cem>All Things Considered \u003c/em>in 1987.\u003c/p>\n\u003cp>Siegel “reported from every corner of the country and around the world,” NPR executives \u003ca href=\"http://www.npr.org/sections/npr-extra/2017/04/25/525535979/robert-siegel-and-all-things-considered\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He even reported from Springfield — \u003ca href=\"https://www.youtube.com/watch?v=Q1t8foMAjdc&feature=youtu.be\">on The Simpsons\u003c/a>.\u003c/p>\n\u003cp>“He is the consummate student, a person whose quest for the answers has benefited millions upon millions of listeners over the years,” NPR’s statement says. “He is for all of us, a model of how to be fully engaged in the world, our work, and with his colleagues.”\u003c/p>\n\u003cp>NPR will be conducting a national search for the next host of \u003cem>All Things Considered.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Siegel, the show is co-hosted by Ari Shapiro, Audie Cornish and Kelly McEvers. \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=Robert+Siegel+Stepping+Down+As+%27All+Things+Considered%27+Host+In+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Siegel, whose career with NPR has spanned more than four decades, will be stepping down as co-host of NPR’s \u003cem>All Things Considered\u003c/em> next year.\u003c/p>\n\u003cp>One of the most distinctive voices on NPR’s airwaves, Siegel will be leaving the host’s chair in January 2018. He has hosted the show for 30 years.\u003c/p>\n\u003cp>“This is a decision long in the making and not an easy one,” Siegel said. “I’ve had the greatest job I can think of, working with the finest colleagues anyone could ask for, for as long a stretch as I could imagine. But, looking ahead to my 70s (which start all too soon) I feel that it is time for me to begin a new phase of life. Over the next few months, I hope to figure out what that will be.”\u003c/p>\n\u003cp>Siegel started at NPR as a newscaster in 1976. He was a senior editor in NPR’s London bureau and the director of the news and information department before he became host of \u003cem>All Things Considered \u003c/em>in 1987.\u003c/p>\n\u003cp>Siegel “reported from every corner of the country and around the world,” NPR executives \u003ca href=\"http://www.npr.org/sections/npr-extra/2017/04/25/525535979/robert-siegel-and-all-things-considered\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>What will Bill Murray do next?\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>The beloved actor’s curiosity seems boundless. It should be no surprise, then, to learn that his new project finds him paired with a classical cellist.\u003c/p>\n\u003cp>Jan Vogler and Murray met a few years back on an overseas flight, where the seeds of an idea were planted. The result is \u003cem>New Worlds\u003c/em>, their new show which makes its U.S. debut at \u003ca href=\"https://festivalnapavalley.org/\" target=\"_blank\" rel=\"noopener\">Festival Napa Valley\u003c/a> on July 20, and will be released as an album in August. The performance features Murray singing a little Gershwin and reciting a little Whitman. Vogler, along with violinist \u003ca href=\"http://www.npr.org/2017/03/14/519984134/a-stolen-then-recovered-stradivarius-returns-to-the-stage\" target=\"_blank\" rel=\"noopener\">Mira Wang\u003c/a> and pianist \u003ca href=\"http://www.vanessaperez.com/\" target=\"_blank\" rel=\"noopener\">Vanessa Perez\u003c/a>, provide a soundtrack of \u003ca href=\"http://www.npr.org/artists/15044271/franz-schubert\" target=\"_blank\" rel=\"noopener\">Schubert\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15031897/johann-sebastian-bach\" target=\"_blank\" rel=\"noopener\">Bach\u003c/a> and \u003ca href=\"http://www.npr.org/artists/17926052/astor-piazzolla\" target=\"_blank\" rel=\"noopener\">Piazzolla\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8jXWDyyFesE\u003c/p>\n\u003cp>Murray isn’t new to either singing or poetry. As Nick the Lounge Singer, he crooned the \u003ca href=\"https://vimeo.com/148990643\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Wars\u003c/em> theme\u003c/a> on \u003cem>Saturday Night Live. \u003c/em>In the film \u003cem>Lost in Translation, \u003c/em>he sang a wobbly yet wistful version of \u003ca href=\"http://www.npr.org/artists/95667902/roxy-music\" target=\"_blank\" rel=\"noopener\">Roxy Music\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=blZPOwm6ES4\" target=\"_blank\" rel=\"noopener\">More Than This\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Poetry also figures into his career already. In \u003cem>Groundhog Day,\u003c/em> Murray \u003ca href=\"https://www.youtube.com/watch?v=zVeJ5F26uiM\" target=\"_blank\" rel=\"noopener\">recited a poem\u003c/a> in French to Andie MacDowell. But more serious endeavors include his longtime support of the Poet’s House, a poetry library in lower Manhattan where he once gave an \u003ca href=\"https://www.youtube.com/watch?v=rj_LYsvGF0E\" target=\"_blank\" rel=\"noopener\">impromptu reading\u003c/a> of Emily Dickinson and others, to a group of giggling construction workers.\u003c/p>\n\u003cp>Vogler, who routinely plays with top orchestras around the world, wrote earlier today in an email to NPR that working with Murray is an experience full of the unexpected.\u003c/p>\n\u003cp>“Last June,” Vogler wrote, “he sent me a text message one day: ‘Meet me at the Manhattan side of the Brooklyn Bridge.’ I went there and had no idea what to expect.”\u003c/p>\n\u003cp>Turns out it was the annual Poetry Walk, sponsored by the Poets House. “We all walked across the Brooklyn Bridge, listening to Walt Whitman poems on both sides of the river,” Vogler says. “It was a magic day, and the surprise effect contributed to the beauty of it.”\u003c/p>\n\u003cp>It was also remarkable to Vogler, a German musician steeped in the central European classics, how easy it was to choose the repertoire for \u003cem>New Worlds\u003c/em> with Murray.\u003c/p>\n\u003cp>“We met up and we listened to a lot of music,” Vogler recalls. “He is so musical and would whistle a tune as soon as I would mention it. We found our common favorites and started talking about literature. It was surprising how much we agreed on the choices of both literature and music.”\u003c/p>\n\u003cp>\u003cem>New Worlds\u003c/em> will tour in Europe and North America this summer and fall, with a final stop at Carnegie Hall Oct. 16.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s next for Murray after this chamber music and poetry hootenanny is, most likely, anyone’s guess. \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=Bill+Murray+Goes+Classical%3F+Hey%2C+Why+Not%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What will Bill Murray do next?\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>The beloved actor’s curiosity seems boundless. It should be no surprise, then, to learn that his new project finds him paired with a classical cellist.\u003c/p>\n\u003cp>Jan Vogler and Murray met a few years back on an overseas flight, where the seeds of an idea were planted. The result is \u003cem>New Worlds\u003c/em>, their new show which makes its U.S. debut at \u003ca href=\"https://festivalnapavalley.org/\" target=\"_blank\" rel=\"noopener\">Festival Napa Valley\u003c/a> on July 20, and will be released as an album in August. The performance features Murray singing a little Gershwin and reciting a little Whitman. Vogler, along with violinist \u003ca href=\"http://www.npr.org/2017/03/14/519984134/a-stolen-then-recovered-stradivarius-returns-to-the-stage\" target=\"_blank\" rel=\"noopener\">Mira Wang\u003c/a> and pianist \u003ca href=\"http://www.vanessaperez.com/\" target=\"_blank\" rel=\"noopener\">Vanessa Perez\u003c/a>, provide a soundtrack of \u003ca href=\"http://www.npr.org/artists/15044271/franz-schubert\" target=\"_blank\" rel=\"noopener\">Schubert\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15031897/johann-sebastian-bach\" target=\"_blank\" rel=\"noopener\">Bach\u003c/a> and \u003ca href=\"http://www.npr.org/artists/17926052/astor-piazzolla\" target=\"_blank\" rel=\"noopener\">Piazzolla\u003c/a>.\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/8jXWDyyFesE'\n title='//www.youtube.com/embed/8jXWDyyFesE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Murray isn’t new to either singing or poetry. As Nick the Lounge Singer, he crooned the \u003ca href=\"https://vimeo.com/148990643\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Wars\u003c/em> theme\u003c/a> on \u003cem>Saturday Night Live. \u003c/em>In the film \u003cem>Lost in Translation, \u003c/em>he sang a wobbly yet wistful version of \u003ca href=\"http://www.npr.org/artists/95667902/roxy-music\" target=\"_blank\" rel=\"noopener\">Roxy Music\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=blZPOwm6ES4\" target=\"_blank\" rel=\"noopener\">More Than This\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Poetry also figures into his career already. In \u003cem>Groundhog Day,\u003c/em> Murray \u003ca href=\"https://www.youtube.com/watch?v=zVeJ5F26uiM\" target=\"_blank\" rel=\"noopener\">recited a poem\u003c/a> in French to Andie MacDowell. But more serious endeavors include his longtime support of the Poet’s House, a poetry library in lower Manhattan where he once gave an \u003ca href=\"https://www.youtube.com/watch?v=rj_LYsvGF0E\" target=\"_blank\" rel=\"noopener\">impromptu reading\u003c/a> of Emily Dickinson and others, to a group of giggling construction workers.\u003c/p>\n\u003cp>Vogler, who routinely plays with top orchestras around the world, wrote earlier today in an email to NPR that working with Murray is an experience full of the unexpected.\u003c/p>\n\u003cp>“Last June,” Vogler wrote, “he sent me a text message one day: ‘Meet me at the Manhattan side of the Brooklyn Bridge.’ I went there and had no idea what to expect.”\u003c/p>\n\u003cp>Turns out it was the annual Poetry Walk, sponsored by the Poets House. “We all walked across the Brooklyn Bridge, listening to Walt Whitman poems on both sides of the river,” Vogler says. “It was a magic day, and the surprise effect contributed to the beauty of it.”\u003c/p>\n\u003cp>It was also remarkable to Vogler, a German musician steeped in the central European classics, how easy it was to choose the repertoire for \u003cem>New Worlds\u003c/em> with Murray.\u003c/p>\n\u003cp>“We met up and we listened to a lot of music,” Vogler recalls. “He is so musical and would whistle a tune as soon as I would mention it. We found our common favorites and started talking about literature. It was surprising how much we agreed on the choices of both literature and music.”\u003c/p>\n\u003cp>\u003cem>New Worlds\u003c/em> will tour in Europe and North America this summer and fall, with a final stop at Carnegie Hall Oct. 16.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s next for Murray after this chamber music and poetry hootenanny is, most likely, anyone’s guess. \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=Bill+Murray+Goes+Classical%3F+Hey%2C+Why+Not%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Midway through \u003cem>Norman: The Moderate Rise and Tragic Fall of a New York Fixer\u003c/em>, the title character sketches a diagram of his intersecting business, political, and charitable connections. Norman Oppenheimer (Richard Gere) is at the center of the web, and yet he’s barely there at all.\u003c/p>\n\u003cp>You might call Norman a flesh-and-blood social network. He exists to link others, and though he must be driven by self-interest, it’s hard to tell. Writer-director Joseph Cedar, very intentionally, never shows Norman’s home or office — if he even has them — or the family he often mentions but may not exist. Norman seems tethered to Earth only by a nephew, Philip Cohen (Michael Sheen), a Manhattan attorney who pleads, “don’t mention my name.”\u003c/p>\n\u003cp>https://youtu.be/TZMCfZq3qc4\u003c/p>\n\u003cp>Most people avoid Norman if they possibly can. The movie’s story — intricate, rollicking and sometimes sad — turns on three who don’t scamper away: Israeli deputy trade minister Micha Eshel (Lior Ashkenazi, who starred in Cedar’s equally tricky previous film, \u003cem>Footnote\u003c/em>). Rabbi Blumenthal (Steve Buscemi), who trusts Norman to find the $14 million needed to save his historic synagogue. And Alex Green (Charlotte Gainsbourg), a New York-based corruption investigator for the Israeli government.\u003c/p>\n\u003cp>The first chapter is full of false starts and failed pacts, although it does see Norman make a possible friend in Micha. Then, three years later, Micha has become prime minister and Norman goes to see him at an AIPAL (read AIPAC) reception in D.C. Micha greets Norman warmly, and suddenly the nonentity is somebody. Micha even has a task for Norman: get his son into Harvard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Returning to New York by train — Amfleet, not the higher-priced Acela — Norman meets Alex. She tries very hard to ignore him, only to get interested when Norman starts describing his “consulting” business. Since touting his connections is the essence of what Norman does, he could hardly tell her the truth, which is that he barely knows the new PM.\u003c/p>\n\u003cfigure id=\"attachment_13073029\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Israel is roiled by reports of an investigation into Micha’s ties to a “New York businessman.” Norman wonders who that could be.\u003c/p>\n\u003cp>Adding to the thematic complexity, Micha comes to power as a peace candidate. Yet Cedar, a military veteran whose eerie \u003cem>Beaufort\u003c/em> was set in an Israeli outpost in southern Lebanon, doesn’t stress geopolitics. He’s more interested in the personal variety.\u003c/p>\n\u003cp>At the reception, Micha mentions the diverse U.S. factions that support Israel, but that’s the end of the discussion. Norman doesn’t seem to have a position on such matters as a two-state solution, and the word “Palestinian” is never uttered. In Israel, rather then debate Micha’s proposal, his opponents seek to destroy the PM with allegations of corruption.\u003c/p>\n\u003cfigure id=\"attachment_13073030\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1920x1325.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-520x359.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An Israeli who spent the first six years of his life in New York, Cedar is well attuned to the Manhattan-Jerusalem-Tel Aviv nexus. He gets excellent performances from Gere — playing partway against type as a charmer who’s unnervingly hot rather than reassuringly cool — and the rest of the cast. Dan Stevens, Hank Azaria, Josh Charles, Isaach de Bankole, and others make strong impressions in small roles.\u003c/p>\n\u003cp>Less effective are the director’s visualizations of Norman’s interactions via montages and split screens. Such self-conscious gambits worked better in \u003cem>Footnote\u003c/em> because that film was largely about the life of the mind, and its conflicts were more internal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie’s other quandary is integral to Cedar’s concept. The refusal to give Norman a backstory ultimately limits the impact of the man’s so-called tragedy. The final chapter’s machinations are fascinating, but they’d evoke stronger emotions if we had some idea where Norman was falling from.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through \u003cem>Norman: The Moderate Rise and Tragic Fall of a New York Fixer\u003c/em>, the title character sketches a diagram of his intersecting business, political, and charitable connections. Norman Oppenheimer (Richard Gere) is at the center of the web, and yet he’s barely there at all.\u003c/p>\n\u003cp>You might call Norman a flesh-and-blood social network. He exists to link others, and though he must be driven by self-interest, it’s hard to tell. Writer-director Joseph Cedar, very intentionally, never shows Norman’s home or office — if he even has them — or the family he often mentions but may not exist. Norman seems tethered to Earth only by a nephew, Philip Cohen (Michael Sheen), a Manhattan attorney who pleads, “don’t mention my name.”\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/TZMCfZq3qc4'\n title='//www.youtube.com/embed/TZMCfZq3qc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Most people avoid Norman if they possibly can. The movie’s story — intricate, rollicking and sometimes sad — turns on three who don’t scamper away: Israeli deputy trade minister Micha Eshel (Lior Ashkenazi, who starred in Cedar’s equally tricky previous film, \u003cem>Footnote\u003c/em>). Rabbi Blumenthal (Steve Buscemi), who trusts Norman to find the $14 million needed to save his historic synagogue. And Alex Green (Charlotte Gainsbourg), a New York-based corruption investigator for the Israeli government.\u003c/p>\n\u003cp>The first chapter is full of false starts and failed pacts, although it does see Norman make a possible friend in Micha. Then, three years later, Micha has become prime minister and Norman goes to see him at an AIPAL (read AIPAC) reception in D.C. Micha greets Norman warmly, and suddenly the nonentity is somebody. Micha even has a task for Norman: get his son into Harvard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Returning to New York by train — Amfleet, not the higher-priced Acela — Norman meets Alex. She tries very hard to ignore him, only to get interested when Norman starts describing his “consulting” business. Since touting his connections is the essence of what Norman does, he could hardly tell her the truth, which is that he barely knows the new PM.\u003c/p>\n\u003cfigure id=\"attachment_13073029\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Israel is roiled by reports of an investigation into Micha’s ties to a “New York businessman.” Norman wonders who that could be.\u003c/p>\n\u003cp>Adding to the thematic complexity, Micha comes to power as a peace candidate. Yet Cedar, a military veteran whose eerie \u003cem>Beaufort\u003c/em> was set in an Israeli outpost in southern Lebanon, doesn’t stress geopolitics. He’s more interested in the personal variety.\u003c/p>\n\u003cp>At the reception, Micha mentions the diverse U.S. factions that support Israel, but that’s the end of the discussion. Norman doesn’t seem to have a position on such matters as a two-state solution, and the word “Palestinian” is never uttered. In Israel, rather then debate Micha’s proposal, his opponents seek to destroy the PM with allegations of corruption.\u003c/p>\n\u003cfigure id=\"attachment_13073030\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1920x1325.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-520x359.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An Israeli who spent the first six years of his life in New York, Cedar is well attuned to the Manhattan-Jerusalem-Tel Aviv nexus. He gets excellent performances from Gere — playing partway against type as a charmer who’s unnervingly hot rather than reassuringly cool — and the rest of the cast. Dan Stevens, Hank Azaria, Josh Charles, Isaach de Bankole, and others make strong impressions in small roles.\u003c/p>\n\u003cp>Less effective are the director’s visualizations of Norman’s interactions via montages and split screens. Such self-conscious gambits worked better in \u003cem>Footnote\u003c/em> because that film was largely about the life of the mind, and its conflicts were more internal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie’s other quandary is integral to Cedar’s concept. The refusal to give Norman a backstory ultimately limits the impact of the man’s so-called tragedy. The final chapter’s machinations are fascinating, but they’d evoke stronger emotions if we had some idea where Norman was falling from.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Peabody Awards are given yearly by the University of Georgia’s Grady College of Journalism and Mass Communication. The ceremony will be held May 20 in New York City at Cipriani Wall Street. \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=Beyonc%C3%A9%2C+Donald+Glover+Among+This+Year%27s+Peabody+Award+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>United States District Judge Wilhelmina M. Wright has blocked, for now, the release of a Prince EP originally scheduled to drop tomorrow, April 21, on the first anniversary of the singer’s death. Wright yesterday granted Paisley Park Enterprises a temporary restraining order against George Ian Boxill, a recording engineer who worked with Prince around 2006, and who had planned to release the EP from their sessions.\u003c/p>\n\u003cp>Out of nowhere this past Tuesday evening \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/19/524682589/new-music-from-prince-set-for-release-friday-the-subject-of-a-suit-from-his-esta\" target=\"_blank\" rel=\"noopener\">a press release was issued\u003c/a> announcing the \u003cem>Deliverance\u003c/em> EP, saying it would be released by an unknown label called the Rebel Music Alliance. The promotional campaign included a website in support of it (princerogersnelson.com), which has since been taken down. The record’s title track was serviced to radio on Wednesday evening, but has since been removed from iTunes.\u003c/p>\n\u003cp>All of this was in the face of a lawsuit brought last Friday in Minnesota by Paisley Park Enterprises against Boxill. Because Boxill is a California resident the case was transferred to federal court this week.\u003c/p>\n\u003cp>Judge Wright’s decision is wholly in favor of Paisley Park, ordering Boxill to return all Prince recordings back to the estate and to stop disseminating them. The restraining order lifts on May 3. Paisley Park has until April 25 to file its injunction against Boxill, who will then have three days to respond. \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=%27Deliverance%27+Denied%3A+Release+Of+Posthumous+Prince+Record+Stopped+By+Judge&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>United States District Judge Wilhelmina M. Wright has blocked, for now, the release of a Prince EP originally scheduled to drop tomorrow, April 21, on the first anniversary of the singer’s death. Wright yesterday granted Paisley Park Enterprises a temporary restraining order against George Ian Boxill, a recording engineer who worked with Prince around 2006, and who had planned to release the EP from their sessions.\u003c/p>\n\u003cp>Out of nowhere this past Tuesday evening \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/19/524682589/new-music-from-prince-set-for-release-friday-the-subject-of-a-suit-from-his-esta\" target=\"_blank\" rel=\"noopener\">a press release was issued\u003c/a> announcing the \u003cem>Deliverance\u003c/em> EP, saying it would be released by an unknown label called the Rebel Music Alliance. The promotional campaign included a website in support of it (princerogersnelson.com), which has since been taken down. The record’s title track was serviced to radio on Wednesday evening, but has since been removed from iTunes.\u003c/p>\n\u003cp>All of this was in the face of a lawsuit brought last Friday in Minnesota by Paisley Park Enterprises against Boxill. Because Boxill is a California resident the case was transferred to federal court this week.\u003c/p>\n\u003cp>Judge Wright’s decision is wholly in favor of Paisley Park, ordering Boxill to return all Prince recordings back to the estate and to stop disseminating them. The restraining order lifts on May 3. Paisley Park has until April 25 to file its injunction against Boxill, who will then have three days to respond. \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=%27Deliverance%27+Denied%3A+Release+Of+Posthumous+Prince+Record+Stopped+By+Judge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A 23-year-old, Russian-born violinist named Artem Kolesov is capturing international attention after posting a YouTube video in which he comes out as gay.\u003c/p>\n\u003cp>The son of two Pentecostal pastors in a small town an hour away from Moscow, Kolesov says that he has struggled for most of his life to reconcile his sexual orientation with his Christian beliefs and his family’s views. “In my family,” Kolesov says in his video, “I often heard that all gays should be destroyed, that they should be bombed, and that if anyone in our family turns out to be gay, my family should kill them with their bare hands.”\u003c/p>\n\u003cp>In the video, Kolesov also recounts wrenching episodes from throughout his life. At age seven, he prayed that he would die before his mother found out that he liked boys. He also endured physical and sexual abuse from one of his brothers, who threatened to out him to his parents if Kolesov told anyone about the abuse, and later attempted suicide several times.\u003c/p>\n\u003cp>Growing up, he says, “I never heard anything good about gay people. All I knew was that gays are the people who everyone should hate. I was scared because I knew that I was gay. I didn’t know anyone who I could talk to about it. It seemed that I was the only gay person in Russia.”\u003c/p>\n\u003cp>The violinist made his video as part of the Russian \u003ca href=\"https://www.facebook.com/children.404\" target=\"_blank\" rel=\"noopener\">“Children-404”\u003c/a> project, which invites teenagers to share their stories and discuss LGBT issues in Russia. In most of their photos and videos, participants shield their identities by holding up a “Children-404” sign in front of their faces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of creating an anonymous contribution, Kolesov chose to share his name and face, to let fellow LGBT youth in Russia feel less isolated. He recorded the video in Russian, but also provided English subtitles. “We don’t come out for heterosexual people to know,” he says in his video, which he published on March 29. “We don’t come out for the ones who hate us to know. We shout and make as much noise as possible just so other people like us who are scared and can’t be themselves would know that they are not a mistake and they are not alone.”\u003c/p>\n\u003cp>Formerly based in Canada, Kolesov now lives in Chicago, where he is first violinist in the \u003ca href=\"https://www.facebook.com/yasquartet/\" target=\"_blank\" rel=\"noopener\">Yas Quartet\u003c/a>, which is in residence at Roosevelt University’s Chicago College of Performing Arts. Last summer, his ensemble took third prize in the Chamber Division at the Schoenfeld International String Competition which was held in Harbin, China.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EOiKvuXQsSg\u003c/p>\n\u003cp>In his video, Kolesov contrasts his family’s pleasure in his musical accomplishments with their reaction to his coming out. “They are ashamed to have a gay son and brother,” he says. “They wish that this part of my identity didn’t exist. Interesting that my family is proud of me for being a violinist, and is so ashamed of me for being gay, though both of these are parts of my identity.”\u003c/p>\n\u003cp>In the aftermath of releasing his video, Kolesov told \u003cem>\u003ca href=\"https://www.buzzfeed.com/patrickstrudwick/this-is-what-happened-when-a-young-russian-came-out-as-gay\" target=\"_blank\" rel=\"noopener\">BuzzFeed\u003c/a> \u003c/em>that he’s already begun to experience the impact of his decision to come out so publicly. He has received many positive messages from friends and strangers alike, but he said that he is afraid of being arrested if he returns to Russia, under enforcement of a vaguely worded but broad \u003ca href=\"http://www.npr.org/2014/02/08/273768829/when-it-comes-to-human-rights-is-russia-moving-backward\" target=\"_blank\" rel=\"noopener\">“anti-gay propaganda”\u003c/a> law. Earlier this month, there were \u003ca href=\"http://kosu.org/post/gay-men-chechnya-rounded-tortured-and-killed-report\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that more than 100 gay men in Chechnya were arrested and tortured, with some of them reportedly killed by police. (Authorities have denied both the arrests and the deaths.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kolesov is also not currently on speaking terms with his relatives, and told \u003cem>BuzzFeed\u003c/em>, “Even if I go back to Russia, I’m not sure I would be feeling completely safe with my own family.” \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=After+Coming+Out+As+Gay%2C+A+Russian+Violinist%27s+New+Reality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead of creating an anonymous contribution, Kolesov chose to share his name and face, to let fellow LGBT youth in Russia feel less isolated. He recorded the video in Russian, but also provided English subtitles. “We don’t come out for heterosexual people to know,” he says in his video, which he published on March 29. “We don’t come out for the ones who hate us to know. We shout and make as much noise as possible just so other people like us who are scared and can’t be themselves would know that they are not a mistake and they are not alone.”\u003c/p>\n\u003cp>Formerly based in Canada, Kolesov now lives in Chicago, where he is first violinist in the \u003ca href=\"https://www.facebook.com/yasquartet/\" target=\"_blank\" rel=\"noopener\">Yas Quartet\u003c/a>, which is in residence at Roosevelt University’s Chicago College of Performing Arts. Last summer, his ensemble took third prize in the Chamber Division at the Schoenfeld International String Competition which was held in Harbin, China.\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/EOiKvuXQsSg'\n title='//www.youtube.com/embed/EOiKvuXQsSg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his video, Kolesov contrasts his family’s pleasure in his musical accomplishments with their reaction to his coming out. “They are ashamed to have a gay son and brother,” he says. “They wish that this part of my identity didn’t exist. Interesting that my family is proud of me for being a violinist, and is so ashamed of me for being gay, though both of these are parts of my identity.”\u003c/p>\n\u003cp>In the aftermath of releasing his video, Kolesov told \u003cem>\u003ca href=\"https://www.buzzfeed.com/patrickstrudwick/this-is-what-happened-when-a-young-russian-came-out-as-gay\" target=\"_blank\" rel=\"noopener\">BuzzFeed\u003c/a> \u003c/em>that he’s already begun to experience the impact of his decision to come out so publicly. He has received many positive messages from friends and strangers alike, but he said that he is afraid of being arrested if he returns to Russia, under enforcement of a vaguely worded but broad \u003ca href=\"http://www.npr.org/2014/02/08/273768829/when-it-comes-to-human-rights-is-russia-moving-backward\" target=\"_blank\" rel=\"noopener\">“anti-gay propaganda”\u003c/a> law. Earlier this month, there were \u003ca href=\"http://kosu.org/post/gay-men-chechnya-rounded-tortured-and-killed-report\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that more than 100 gay men in Chechnya were arrested and tortured, with some of them reportedly killed by police. (Authorities have denied both the arrests and the deaths.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kolesov is also not currently on speaking terms with his relatives, and told \u003cem>BuzzFeed\u003c/em>, “Even if I go back to Russia, I’m not sure I would be feeling completely safe with my own family.” \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=After+Coming+Out+As+Gay%2C+A+Russian+Violinist%27s+New+Reality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The J. Geils Band's Greatest Hit Illustrates a Strange, Transitional Moment in Pop",
"headTitle": "The J. Geils Band’s Greatest Hit Illustrates a Strange, Transitional Moment in Pop | KQED",
"content": "\u003cp>J. Geils Band co-founder and guitarist John “Jay” Geils, Jr. \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/11/523489861/john-geils-guitarist-of-the-j-geils-band-dies-at-71\">passed away on Tuesday\u003c/a> at age 71 in Groton, Massachusetts, an hour’s drive northwest of Boston. His namesake group has in the days since been fondly remembered for its decade-straddling career and its unlikely journey from Boston bar-rock heroes to ’80s hit-makers. But there’s one song, from the band’s 1981 album \u003cem>Freeze Frame\u003c/em>, that truly embodies the seismic musical and cultural shifts, and the links, between the classic rock and MTV eras for both the band and the world at large.\u003c/p>\n\u003cp>The year of \u003cem>Freeze\u003c/em> \u003cem>Frame\u003c/em>‘s release, the number-one pop song in America was “Bette Davis Eyes” by Kim Carnes, who had been knocking around since the early ’70s to middling success. The song had been an obscure album track for \u003ca href=\"http://www.npr.org/artists/127541820/jackie-deshannon\">Jackie DeShannon\u003c/a>, who co-wrote and recorded the country-swing original in 1974. But Kim Carnes’ slick synthesizer arrangement made it a massive hit — and a harbinger of changes to come.\u003c/p>\n\u003cp>Despite what calendars may claim, the 1980s really started in 1981 for pop music. Although the year’s top hits read like a \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Midnight_Special_(TV_series)\">Midnight Special\u003c/a>\u003c/em> hangover of ’70s stalwarts like \u003ca href=\"http://www.npr.org/books/authors/162314124/kenny-rogers\">Kenny Rogers\u003c/a>, Ronnie Milsap, and \u003ca href=\"http://www.npr.org/artists/113226616/barbra-streisand\">Barbra Streisand\u003c/a>, those artists were, somewhat sadly, dinosaurs obliviously awaiting the new-wave asteroid that had already entered the atmosphere in the form of new names like The Police and \u003ca href=\"http://www.npr.org/artists/15510458/devo\">Devo\u003c/a>.\u003c/p>\n\u003cp>Those most likely to survive the blast quickly adopted the new decade’s trademark synthetic sound, for better or worse. The most egregiously ’80s studio affectation — next to gratuitous synths and crappy sax solos – was the wholesale over-production of drums, which were suddenly engaged in a frantic race to be as monotonous and absurdly loud as possible. Compared to the faithful way drums were recorded in the ’70s, it sounded like people were keeping time with anti-aircraft guns.\u003c/p>\n\u003cp>Geils’ fellow soul-loving ’70s rockers \u003ca href=\"http://www.npr.org/artists/15757261/hall-oates\">Hall & Oates\u003c/a> reached the zenith when the duo made rock’s concussive new sonic order the theme of their video for 1984’s “Out of Touch,” from an album entitled \u003cem>Big Bam Boom\u003c/em>, in which the drums \u003cem>literally\u003c/em> steamroll over the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/D00M2KZH1J0\u003c/p>\n\u003cp>What would become the J. Geils Band originally formed in Boston the mid-’60s as an acoustic blues trio, later adding two members including new frontman Peter Wolf, a former WBCN radio DJ. What resulted was a sweaty, harmonica-fueled, bar-tested R&B machine that set the local club scene on its ear with incendiary live shows and earned it the tag “The American Stones” just before fellow Bostonians \u003ca href=\"http://www.npr.org/artists/129085773/aerosmith\">Aerosmith\u003c/a> wrestled it away.\u003c/p>\n\u003cp>In 1970, the band signed to Atlantic Records and soon became one of America’s most successful touring outfits on the strength of its increasingly airtight, powerful live shows. Over the next decade the band would release a string of R&B-driven top-40 singles, none of which would crack the top 10, seemingly unable to replicate the energy and excitement of their live performance.\u003c/p>\n\u003cp>https://youtu.be/Mq79uJ58eAM\u003c/p>\n\u003cp>Just when it seemed that history would brand it as nothing more than an above-par \u003cem>Animal House\u003c/em>-style party band following the disappointing chart stall of 1980’s “Love Stinks” at No. 32, along came “Centerfold.”\u003c/p>\n\u003cp>“Centerfold” was unique on many levels — not the least of which being its distinction as the first chart-topping single about softcore pornography to be released by a band that counts someone named Magic Dick among its members. It was the first of two huge crossover pop hits from the group’s 1981 album \u003cem>Freeze Frame\u003c/em>, which marked the band’s first foray into the poppy, new-wavey songcraft and slick production style that ’80s hits demanded. As a result, the album was as off-putting to old fans as it was rapturously received by what must have been a startling magnitude of new ones.\u003c/p>\n\u003cp>Beyond possessing the requisite synth and drum excess, “Centerfold” perfectly encapsulated the moment by crashing the new decade’s charts with one tentative foot in ’80s pop and one tenuously, but still credibly, lodged in their R&B roots, in the fleeting moments before heritage bands would be displaced by \u003ca href=\"https://i.ytimg.com/vi/aqw4e3e3Lk8/maxresdefault.jpg\" target=\"_blank\" rel=\"noopener\">Men Without Hats\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13053337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-800x450.jpg\" alt=\"Richard 'Magic Dick' Salwitz onstage at Candlestick Park in San Francisco, California on October 17, 1981.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13053337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard ‘Magic Dick’ Salwitz onstage at Candlestick Park in San Francisco, California on October 17, 1981. \u003ccite>(Photo: Larry Hulst/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peter Wolf’s unmistakable Bronx-accented Motown rasp left no doubt that “Centerfold” was a J. Geils song, but the famously nimble guitar playing of the band’s namesake, which breezily traversed from blues to jazz to funk, had been reduced to power-riffing over the chorus. And, unlike the road-tested ’70s catalog, “Centerfold” appeared to be a studio concoction, completely absent from their live sets until after the release of \u003cem>Freeze\u003c/em> \u003cem>Frame\u003c/em>. Ironically, but perhaps inevitably, the band’s breakthrough hit was the one that sounded the least like its legendary live show.\u003c/p>\n\u003cp>1981 was also, of course, the year that MTV launched, just two months before the release of \u003cem>Freeze Frame\u003c/em>. The good news for the fledgling network’s founders was that they’d convinced enough local cable operators to carry the channel to launch. The bad news was they had 24 hours of airtime to fill and little to fill it with.\u003c/p>\n\u003cp>Music videos were not yet commonplace in the U.S., as they were in Europe, and MTV’s most-played videos from its debut year shows a list clearly influenced by availability more than popularity. Like the year’s top pop songs, the MTV of 1981 was heavily populated by artists warily leaning into the fourth and final turn of their career — Cliff Richard, Rupert Hines, April Wine — but lightly peppered with burgeoning new-wave artists like The Cars and Robin Lane.\u003c/p>\n\u003cp>By the end of ’82, all eyes (at least in cities where MTV was available) had turned to music videos, which had very quickly become a requisite to pop success. And a second British Invasion was underway, prompted by a glut of available videos by U.K. new-wave bands and MTV’s insatiable need to obtain more grist for the mill, bringing us Flock of Seagulls, The Human League, and other exponents of severe haircuts.\u003c/p>\n\u003cp>It was a time when majority-bearded warhorse Texas boogie-rock trios woke up one morning to find themselves video stars. But for every ZZ Top there was a Billy Squier, whose spasmodic dancing atop pink satin sheets in the video for “Rock Me Tonight” looked like he was passing kidney stones in a brothel, singlehandedly wiping out his past, present, and future audiences in one neon-hued stroke.\u003c/p>\n\u003cp>https://youtu.be/WZvl2aqIyNg\u003c/p>\n\u003cp>Geils threw their hat in the MTV ring with “Centerfold,” ending up as one of 1982’s most-played videos. Like the song, the video neatly straddled the band’s two eras, with Peter Wolf reprising his stage role as the cool, jive-talking kid from Hebrew school with a great record collection and exactly three dance moves — but now set at a very progressive school where girls, unprompted, do synchronized dance routines in lingerie. Existing somewhere between a ’50s teensploitation flick and Robert Palmer’s \u003ca href=\"https://www.youtube.com/watch?v=XcATvu5f9vE\">dystopian fem-bot future\u003c/a>, it was a perfect manifestation of the song and the cultural moment.\u003c/p>\n\u003cp>https://youtu.be/BqDjMZKf-wg\u003c/p>\n\u003cp>“Centerfold” brought the J. Geils Band the stardom it had sought for a decade and a half, sitting atop the pop charts for a mind-boggling six weeks and sending \u003cem>Freeze Frame\u003c/em> to the top of the Billboard 200.\u003c/p>\n\u003cp>But it was also – following the three-act narrative arc established by “Behind the Music” — the first step in the band’s undoing, with ego clashes (Jay Geils’ backbenching in the service of power pop couldn’t have helped) and infighting leading to Wolf’s departure in 1983 and the group disbanding in 1984 after one Wolf-less album.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But in music, as is generally the case, when one window closes another invariably opens. Huey Lewis must have literally pole-vaulted out of bed, sensing the opportunity. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+J.+Geils+Band%27s+Greatest+Hit+Illustrates+A+Strange%2C+Transitional+Moment+In+Pop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>J. Geils Band co-founder and guitarist John “Jay” Geils, Jr. \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/11/523489861/john-geils-guitarist-of-the-j-geils-band-dies-at-71\">passed away on Tuesday\u003c/a> at age 71 in Groton, Massachusetts, an hour’s drive northwest of Boston. His namesake group has in the days since been fondly remembered for its decade-straddling career and its unlikely journey from Boston bar-rock heroes to ’80s hit-makers. But there’s one song, from the band’s 1981 album \u003cem>Freeze Frame\u003c/em>, that truly embodies the seismic musical and cultural shifts, and the links, between the classic rock and MTV eras for both the band and the world at large.\u003c/p>\n\u003cp>The year of \u003cem>Freeze\u003c/em> \u003cem>Frame\u003c/em>‘s release, the number-one pop song in America was “Bette Davis Eyes” by Kim Carnes, who had been knocking around since the early ’70s to middling success. The song had been an obscure album track for \u003ca href=\"http://www.npr.org/artists/127541820/jackie-deshannon\">Jackie DeShannon\u003c/a>, who co-wrote and recorded the country-swing original in 1974. But Kim Carnes’ slick synthesizer arrangement made it a massive hit — and a harbinger of changes to come.\u003c/p>\n\u003cp>Despite what calendars may claim, the 1980s really started in 1981 for pop music. Although the year’s top hits read like a \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Midnight_Special_(TV_series)\">Midnight Special\u003c/a>\u003c/em> hangover of ’70s stalwarts like \u003ca href=\"http://www.npr.org/books/authors/162314124/kenny-rogers\">Kenny Rogers\u003c/a>, Ronnie Milsap, and \u003ca href=\"http://www.npr.org/artists/113226616/barbra-streisand\">Barbra Streisand\u003c/a>, those artists were, somewhat sadly, dinosaurs obliviously awaiting the new-wave asteroid that had already entered the atmosphere in the form of new names like The Police and \u003ca href=\"http://www.npr.org/artists/15510458/devo\">Devo\u003c/a>.\u003c/p>\n\u003cp>Those most likely to survive the blast quickly adopted the new decade’s trademark synthetic sound, for better or worse. The most egregiously ’80s studio affectation — next to gratuitous synths and crappy sax solos – was the wholesale over-production of drums, which were suddenly engaged in a frantic race to be as monotonous and absurdly loud as possible. Compared to the faithful way drums were recorded in the ’70s, it sounded like people were keeping time with anti-aircraft guns.\u003c/p>\n\u003cp>Geils’ fellow soul-loving ’70s rockers \u003ca href=\"http://www.npr.org/artists/15757261/hall-oates\">Hall & Oates\u003c/a> reached the zenith when the duo made rock’s concussive new sonic order the theme of their video for 1984’s “Out of Touch,” from an album entitled \u003cem>Big Bam Boom\u003c/em>, in which the drums \u003cem>literally\u003c/em> steamroll over the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/D00M2KZH1J0'\n title='//www.youtube.com/embed/D00M2KZH1J0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What would become the J. Geils Band originally formed in Boston the mid-’60s as an acoustic blues trio, later adding two members including new frontman Peter Wolf, a former WBCN radio DJ. What resulted was a sweaty, harmonica-fueled, bar-tested R&B machine that set the local club scene on its ear with incendiary live shows and earned it the tag “The American Stones” just before fellow Bostonians \u003ca href=\"http://www.npr.org/artists/129085773/aerosmith\">Aerosmith\u003c/a> wrestled it away.\u003c/p>\n\u003cp>In 1970, the band signed to Atlantic Records and soon became one of America’s most successful touring outfits on the strength of its increasingly airtight, powerful live shows. Over the next decade the band would release a string of R&B-driven top-40 singles, none of which would crack the top 10, seemingly unable to replicate the energy and excitement of their live performance.\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/Mq79uJ58eAM'\n title='//www.youtube.com/embed/Mq79uJ58eAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just when it seemed that history would brand it as nothing more than an above-par \u003cem>Animal House\u003c/em>-style party band following the disappointing chart stall of 1980’s “Love Stinks” at No. 32, along came “Centerfold.”\u003c/p>\n\u003cp>“Centerfold” was unique on many levels — not the least of which being its distinction as the first chart-topping single about softcore pornography to be released by a band that counts someone named Magic Dick among its members. It was the first of two huge crossover pop hits from the group’s 1981 album \u003cem>Freeze Frame\u003c/em>, which marked the band’s first foray into the poppy, new-wavey songcraft and slick production style that ’80s hits demanded. As a result, the album was as off-putting to old fans as it was rapturously received by what must have been a startling magnitude of new ones.\u003c/p>\n\u003cp>Beyond possessing the requisite synth and drum excess, “Centerfold” perfectly encapsulated the moment by crashing the new decade’s charts with one tentative foot in ’80s pop and one tenuously, but still credibly, lodged in their R&B roots, in the fleeting moments before heritage bands would be displaced by \u003ca href=\"https://i.ytimg.com/vi/aqw4e3e3Lk8/maxresdefault.jpg\" target=\"_blank\" rel=\"noopener\">Men Without Hats\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13053337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-800x450.jpg\" alt=\"Richard 'Magic Dick' Salwitz onstage at Candlestick Park in San Francisco, California on October 17, 1981.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13053337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/gettyimages-117211300_wide-1ce67075ce5d8fbc08036ba73a9f23d88d2ae699.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard ‘Magic Dick’ Salwitz onstage at Candlestick Park in San Francisco, California on October 17, 1981. \u003ccite>(Photo: Larry Hulst/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peter Wolf’s unmistakable Bronx-accented Motown rasp left no doubt that “Centerfold” was a J. Geils song, but the famously nimble guitar playing of the band’s namesake, which breezily traversed from blues to jazz to funk, had been reduced to power-riffing over the chorus. And, unlike the road-tested ’70s catalog, “Centerfold” appeared to be a studio concoction, completely absent from their live sets until after the release of \u003cem>Freeze\u003c/em> \u003cem>Frame\u003c/em>. Ironically, but perhaps inevitably, the band’s breakthrough hit was the one that sounded the least like its legendary live show.\u003c/p>\n\u003cp>1981 was also, of course, the year that MTV launched, just two months before the release of \u003cem>Freeze Frame\u003c/em>. The good news for the fledgling network’s founders was that they’d convinced enough local cable operators to carry the channel to launch. The bad news was they had 24 hours of airtime to fill and little to fill it with.\u003c/p>\n\u003cp>Music videos were not yet commonplace in the U.S., as they were in Europe, and MTV’s most-played videos from its debut year shows a list clearly influenced by availability more than popularity. Like the year’s top pop songs, the MTV of 1981 was heavily populated by artists warily leaning into the fourth and final turn of their career — Cliff Richard, Rupert Hines, April Wine — but lightly peppered with burgeoning new-wave artists like The Cars and Robin Lane.\u003c/p>\n\u003cp>By the end of ’82, all eyes (at least in cities where MTV was available) had turned to music videos, which had very quickly become a requisite to pop success. And a second British Invasion was underway, prompted by a glut of available videos by U.K. new-wave bands and MTV’s insatiable need to obtain more grist for the mill, bringing us Flock of Seagulls, The Human League, and other exponents of severe haircuts.\u003c/p>\n\u003cp>It was a time when majority-bearded warhorse Texas boogie-rock trios woke up one morning to find themselves video stars. But for every ZZ Top there was a Billy Squier, whose spasmodic dancing atop pink satin sheets in the video for “Rock Me Tonight” looked like he was passing kidney stones in a brothel, singlehandedly wiping out his past, present, and future audiences in one neon-hued stroke.\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/WZvl2aqIyNg'\n title='//www.youtube.com/embed/WZvl2aqIyNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Geils threw their hat in the MTV ring with “Centerfold,” ending up as one of 1982’s most-played videos. Like the song, the video neatly straddled the band’s two eras, with Peter Wolf reprising his stage role as the cool, jive-talking kid from Hebrew school with a great record collection and exactly three dance moves — but now set at a very progressive school where girls, unprompted, do synchronized dance routines in lingerie. Existing somewhere between a ’50s teensploitation flick and Robert Palmer’s \u003ca href=\"https://www.youtube.com/watch?v=XcATvu5f9vE\">dystopian fem-bot future\u003c/a>, it was a perfect manifestation of the song and the cultural moment.\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/BqDjMZKf-wg'\n title='//www.youtube.com/embed/BqDjMZKf-wg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Centerfold” brought the J. Geils Band the stardom it had sought for a decade and a half, sitting atop the pop charts for a mind-boggling six weeks and sending \u003cem>Freeze Frame\u003c/em> to the top of the Billboard 200.\u003c/p>\n\u003cp>But it was also – following the three-act narrative arc established by “Behind the Music” — the first step in the band’s undoing, with ego clashes (Jay Geils’ backbenching in the service of power pop couldn’t have helped) and infighting leading to Wolf’s departure in 1983 and the group disbanding in 1984 after one Wolf-less album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in music, as is generally the case, when one window closes another invariably opens. Huey Lewis must have literally pole-vaulted out of bed, sensing the opportunity. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+J.+Geils+Band%27s+Greatest+Hit+Illustrates+A+Strange%2C+Transitional+Moment+In+Pop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Fate Of The Furious' Runs On Diesel Fumes",
"headTitle": "‘The Fate Of The Furious’ Runs On Diesel Fumes | KQED",
"content": "\u003cp>Has any movie franchise ever swole up more unrecognizably than \u003cem>The Fast & the Furi\u003c/em>-ad? Its opening heat, back in 2001, was just a humble \u003cem>Point Break\u003c/em> knockoff. Fourteen years later, \u003cem>Furious 7\u003c/em> overcame the death of its second banana, Paul Walker, during production to gross a billion-and-a-half dollars. By then, the series had reinvented itself as an globetrotting heist/spy/wrestling franchise, one as reliant on digital animation and unbound by verisimilitude as any superhero epic. Why just rip off \u003cem>Point Break\u003c/em> when you can rip off … everything?\u003c/p>\n\u003cp>Vin Diesel sat out a couple of sequels before returning as producer, star, and self-described “\u003ca href=\"http://feature.variety.com/vin-diesel-a-furious-mind/\" target=\"_blank\" rel=\"noopener\">saga visionary\u003c/a>” with the 2009 model, \u003cem>Fast & Furious\u003c/em>. (His vision for the saga did not include definite articles.) The series found its golden mean with 2011’s \u003cem>Fast Five\u003c/em>, when Dwayne “The Rock” Johnson came aboard as a Federal agent shrinkwrapped in GSA-issue Under Armour. If the affable, versatile Johnson wasn’t a bigger draw than the surly, one-note Diesel back then, he certainly is now. The frame is no longer big enough for the both of them: When Johnson threw an Instagram fit while shooting the new \u003cem>The Fate of the Furious\u003c/em> last summer, it smelled like Universal’s (totally ripped) publicity arm was cooking up a Diesel v. Johnson rivalry to sell the movie.\u003c/p>\n\u003cp>In fact, the two leads’ mutual disdain is the most convincing thing in it.\u003c/p>\n\u003cp>https://youtu.be/JwMKRevYa_M\u003c/p>\n\u003cp>Maybe if incoming director F. Gary Gray had found a way to channel their umbrage onscreen, this gears-grinding eighth chapter wouldn’t feel so bloated and listless. Instead, Gray — a journeyman whose relevant experience includes the 2003 remake of \u003cem>The Italian Job\u003c/em>, but who also made the much-loved comedy \u003cem>Friday\u003c/em> and the N.W.A. biopic \u003cem>Straight Outta Compton\u003c/em> — uses every trick he can to avoid having Diesel and Johnson on set at the same time. It’s a hindrance that probably made his days easier, but it lets the air out of the movie’s tires, bigly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johnson is still second-billed to Diesel, but it’s clearer than ever that he’s eating Diesel’s lunch now. This time around, he even takes command of Dominic Toretto’s bickering band of con men (plus Michelle Rodriguez and Nathalie Emmanuel) when Dominic Toretto — everyone in this movie is in the habit of speaking his first and last name aloud, as though language has not yet invented a pronoun that can contain his full Diesiality — gets blackmailed into betraying his “family.”\u003c/p>\n\u003cp>I’ll withhold the specifics of how he’s blackmailed (coughcoughsecretlovechildcough); but for a franchise that wants so desperately to reek of sweat and engine grease, these movies sure are soapy.\u003c/p>\n\u003cp>Moreover: if this crew was anything like the family Diesel’s character is forever insisting it is, he would just tell them he’s in a jam and ask their help instead of making them believe he’s gone rogue. (“Dominic Toretto has just gone rogue!” one of them says, helpfully.) But even a sliver of vulnerability would be too much for the brittle, tatted-up ego of Dominic Toretto, née Vin Diesel, Saga Visionary. We’re supposed to root for this fathead jerk over Imperator Furiosa?\u003c/p>\n\u003cp>Oh, right: His blackmatrix is Charlize Theron, who mumbles her way through monologues about “choice theory” when she isn’t typing and seething into a headset. This sort of techno-temp role has defeated many an Oscar-winner; it isn’t Theron’s fault that she’s no better than Tyrese Gibson here. She plays an evil hacker called Cypher, described by Ludacris as “like a digital Act of God!” Maybe he meant to say “a digital God”? Don’t worry about it. The only words that matter is this liberally body-sprayed universe are vrooooom and screeeeeeech.\u003c/p>\n\u003cp>Though these films lost any sense of street-level plausibility many software upgrades ago, \u003cem>Fate of the Furious\u003c/em> remains true to their chop-shop aesthetic in the sense that its flashiest parts are all stolen. Its big Act Two set piece, wherein hundreds of driverless remote-controlled cars assault a diplomatic convoy in lower Manhattan, is an expansion of a bit from \u003cem>Terminator 3\u003c/em>, 14 years ago. It was a good gag back then and it still is, but as with so many \u003cem>Furious\u003c/em> action sequences, it’s marred by conspicuous computer animation that makes it seem about as dangerous as a screensaver, no matter how hard Diesel frowns at his steering wheel. The finale, which involves a bunch of muscle cars plus a tank chasing a hijacked Russian submarine (!) across an ice shelf, is practically photographed but glacially paced. It feels longer than \u003cem>The Hunt for Red October\u003c/em> all by itself.\u003c/p>\n\u003cp>Of course, there are only so many permutations of how fast-moving objects can collide with one another. But the Furious-es are even less creative when it comes to their MacGuffins (Electro-Magnetic Pulse generator, nuclear “football”) and their dialogue. In this one, when a bad guy gets ground up by an airplane propeller like that Nazi strongman in \u003cem>Raiders of the Lost Ark\u003c/em> did a hundred years ago, Johnson gets a inspired look and says… “Nasty.” It’s like a placeholder for a real joke no one cared enough to write. I get that these movies are not primarily targeted at English-speaking audiences, but they’ve got a writer (Chris Morgan, who’s done a half-dozen of these) on payroll. He could try writing a little. It would pass the time.\u003c/p>\n\u003cp>And time this movie has got: 136 minutes, and the 40 or so good ones are mostly front-loaded. The opening, wherein Diesel resorts to some unconventional driving to win a hairline victory in a Havana street race, has a clarity and tension that’s otherwise absent. Of course, the sequence begins with Diesel telling a Cuban never to lose his “Cuban spirit” and ends with him being swarmed by adoring children. (Once again: He produced this movie.)\u003c/p>\n\u003cp>Johnson gets a fun introduction when we see him off-duty, coaching his daughter’s soccer team. He then proceeds to discuss supposedly Top Secret intelligence outdoors, in the open, at said soccer game.\u003c/p>\n\u003cp>Apologists for this series insist its bone-deep dumbth doesn’t matter; and its roided-out box office tells no lies. But these movies fundamental laziness is an insult to every writer who ever lost sleep trying to make a genre movie make sense. Trying is for suckers, these movies tell us. Jokes are for chumps. Writing is for losers.\u003c/p>\n\u003cp>Fate’s MVP is Jason Statham, who played the villainous Owen Shaw the last time around but he’s on our team now. He’s almost as funny in this as he he was in \u003cem>Spy\u003c/em>. Watching \u003cem>The Transporter\u003c/em> and \u003cem>The Rock\u003c/em> antagonize one another (Johnson promises to “slap that whisker biscuit off [Statham’s] face,” because hair is a touchy subject with this crowd) is as good as this movie gets — save for a two-scene drop in by a certain Dame Commander of the Most Excellent Order of the British Empire, who looks like she’s having more fun here than anybody.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Its a weird takeaway from what used to be a muscle-car franchise, but \u003cem>The Fate of the Furious\u003c/em> adds up to a compelling case for energy independence: More Johnson, more Statham, and a lot less Diesel. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Has any movie franchise ever swole up more unrecognizably than \u003cem>The Fast & the Furi\u003c/em>-ad? Its opening heat, back in 2001, was just a humble \u003cem>Point Break\u003c/em> knockoff. Fourteen years later, \u003cem>Furious 7\u003c/em> overcame the death of its second banana, Paul Walker, during production to gross a billion-and-a-half dollars. By then, the series had reinvented itself as an globetrotting heist/spy/wrestling franchise, one as reliant on digital animation and unbound by verisimilitude as any superhero epic. Why just rip off \u003cem>Point Break\u003c/em> when you can rip off … everything?\u003c/p>\n\u003cp>Vin Diesel sat out a couple of sequels before returning as producer, star, and self-described “\u003ca href=\"http://feature.variety.com/vin-diesel-a-furious-mind/\" target=\"_blank\" rel=\"noopener\">saga visionary\u003c/a>” with the 2009 model, \u003cem>Fast & Furious\u003c/em>. (His vision for the saga did not include definite articles.) The series found its golden mean with 2011’s \u003cem>Fast Five\u003c/em>, when Dwayne “The Rock” Johnson came aboard as a Federal agent shrinkwrapped in GSA-issue Under Armour. If the affable, versatile Johnson wasn’t a bigger draw than the surly, one-note Diesel back then, he certainly is now. The frame is no longer big enough for the both of them: When Johnson threw an Instagram fit while shooting the new \u003cem>The Fate of the Furious\u003c/em> last summer, it smelled like Universal’s (totally ripped) publicity arm was cooking up a Diesel v. Johnson rivalry to sell the movie.\u003c/p>\n\u003cp>In fact, the two leads’ mutual disdain is the most convincing thing in it.\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/JwMKRevYa_M'\n title='//www.youtube.com/embed/JwMKRevYa_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe if incoming director F. Gary Gray had found a way to channel their umbrage onscreen, this gears-grinding eighth chapter wouldn’t feel so bloated and listless. Instead, Gray — a journeyman whose relevant experience includes the 2003 remake of \u003cem>The Italian Job\u003c/em>, but who also made the much-loved comedy \u003cem>Friday\u003c/em> and the N.W.A. biopic \u003cem>Straight Outta Compton\u003c/em> — uses every trick he can to avoid having Diesel and Johnson on set at the same time. It’s a hindrance that probably made his days easier, but it lets the air out of the movie’s tires, bigly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Johnson is still second-billed to Diesel, but it’s clearer than ever that he’s eating Diesel’s lunch now. This time around, he even takes command of Dominic Toretto’s bickering band of con men (plus Michelle Rodriguez and Nathalie Emmanuel) when Dominic Toretto — everyone in this movie is in the habit of speaking his first and last name aloud, as though language has not yet invented a pronoun that can contain his full Diesiality — gets blackmailed into betraying his “family.”\u003c/p>\n\u003cp>I’ll withhold the specifics of how he’s blackmailed (coughcoughsecretlovechildcough); but for a franchise that wants so desperately to reek of sweat and engine grease, these movies sure are soapy.\u003c/p>\n\u003cp>Moreover: if this crew was anything like the family Diesel’s character is forever insisting it is, he would just tell them he’s in a jam and ask their help instead of making them believe he’s gone rogue. (“Dominic Toretto has just gone rogue!” one of them says, helpfully.) But even a sliver of vulnerability would be too much for the brittle, tatted-up ego of Dominic Toretto, née Vin Diesel, Saga Visionary. We’re supposed to root for this fathead jerk over Imperator Furiosa?\u003c/p>\n\u003cp>Oh, right: His blackmatrix is Charlize Theron, who mumbles her way through monologues about “choice theory” when she isn’t typing and seething into a headset. This sort of techno-temp role has defeated many an Oscar-winner; it isn’t Theron’s fault that she’s no better than Tyrese Gibson here. She plays an evil hacker called Cypher, described by Ludacris as “like a digital Act of God!” Maybe he meant to say “a digital God”? Don’t worry about it. The only words that matter is this liberally body-sprayed universe are vrooooom and screeeeeeech.\u003c/p>\n\u003cp>Though these films lost any sense of street-level plausibility many software upgrades ago, \u003cem>Fate of the Furious\u003c/em> remains true to their chop-shop aesthetic in the sense that its flashiest parts are all stolen. Its big Act Two set piece, wherein hundreds of driverless remote-controlled cars assault a diplomatic convoy in lower Manhattan, is an expansion of a bit from \u003cem>Terminator 3\u003c/em>, 14 years ago. It was a good gag back then and it still is, but as with so many \u003cem>Furious\u003c/em> action sequences, it’s marred by conspicuous computer animation that makes it seem about as dangerous as a screensaver, no matter how hard Diesel frowns at his steering wheel. The finale, which involves a bunch of muscle cars plus a tank chasing a hijacked Russian submarine (!) across an ice shelf, is practically photographed but glacially paced. It feels longer than \u003cem>The Hunt for Red October\u003c/em> all by itself.\u003c/p>\n\u003cp>Of course, there are only so many permutations of how fast-moving objects can collide with one another. But the Furious-es are even less creative when it comes to their MacGuffins (Electro-Magnetic Pulse generator, nuclear “football”) and their dialogue. In this one, when a bad guy gets ground up by an airplane propeller like that Nazi strongman in \u003cem>Raiders of the Lost Ark\u003c/em> did a hundred years ago, Johnson gets a inspired look and says… “Nasty.” It’s like a placeholder for a real joke no one cared enough to write. I get that these movies are not primarily targeted at English-speaking audiences, but they’ve got a writer (Chris Morgan, who’s done a half-dozen of these) on payroll. He could try writing a little. It would pass the time.\u003c/p>\n\u003cp>And time this movie has got: 136 minutes, and the 40 or so good ones are mostly front-loaded. The opening, wherein Diesel resorts to some unconventional driving to win a hairline victory in a Havana street race, has a clarity and tension that’s otherwise absent. Of course, the sequence begins with Diesel telling a Cuban never to lose his “Cuban spirit” and ends with him being swarmed by adoring children. (Once again: He produced this movie.)\u003c/p>\n\u003cp>Johnson gets a fun introduction when we see him off-duty, coaching his daughter’s soccer team. He then proceeds to discuss supposedly Top Secret intelligence outdoors, in the open, at said soccer game.\u003c/p>\n\u003cp>Apologists for this series insist its bone-deep dumbth doesn’t matter; and its roided-out box office tells no lies. But these movies fundamental laziness is an insult to every writer who ever lost sleep trying to make a genre movie make sense. Trying is for suckers, these movies tell us. Jokes are for chumps. Writing is for losers.\u003c/p>\n\u003cp>Fate’s MVP is Jason Statham, who played the villainous Owen Shaw the last time around but he’s on our team now. He’s almost as funny in this as he he was in \u003cem>Spy\u003c/em>. Watching \u003cem>The Transporter\u003c/em> and \u003cem>The Rock\u003c/em> antagonize one another (Johnson promises to “slap that whisker biscuit off [Statham’s] face,” because hair is a touchy subject with this crowd) is as good as this movie gets — save for a two-scene drop in by a certain Dame Commander of the Most Excellent Order of the British Empire, who looks like she’s having more fun here than anybody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New 'Mystery Science Theater' Coming to Netflix in the Not-Too-Distant Future",
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"content": "\u003cp>Here’s the setup: Mad scientists send a guy (Joel) into space and force him to watch cheesy movies. He can’t get back home because he’s used parts from his spaceship to build two robots whose commentaries make the movies bearable.\u003c/p>\n\u003cp>Sure, \u003cem>Mystery Science Theater 3000\u003c/em> had a silly premise — but it also had a cult following. The show aired in the 1990s and helped spawn the entire attitude of the Internet, where nothing is off limits from being mocked. \u003cem>MST3K\u003c/em> eventually came to an end, but now, to the delight of millions, it’s back.\u003c/p>\n\u003cp>The show was the brainchild of Joel Hodgson, a prop comic from Wisconsin who made a few appearances on \u003cem>Saturday Night Live\u003c/em>. His combination of stoner absurdism and Midwestern nice proved perfect when he got the chance to start his own show on Minneapolis cable access TV in 1988. Making fun of dumb movies with your friends is a time-honored tradition, but with \u003cem>MST3K\u003c/em>, your friends were much funnier.\u003c/p>\n\u003cp>The program got picked up by Comedy Central, where it ran for six seasons, then moved to the Sci-Fi Channel for another three. In the middle of all that, in 1993, Hodgson left over creative differences and a new host took over.\u003c/p>\n\u003cp>“It was really like a tragedy for me the way it worked out,” he says. “It was like the most public, frustrating thing I could imagine. And so that took a really long time to grapple with. And then once I started to get more distance from it, I started to kind of feel like it could happen again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the meantime, the show acquired such fans as Frank Zappa, Questlove from The Roots, Al Gore and Jonah Ray, a stand-up comic who hosts a parody travel show called \u003cem>Hidden America\u003c/em>. Ray grew up watching \u003cem>MST3K\u003c/em>. He says, “\u003cem>Mystery Science Theater\u003c/em> was someone I could watch old sci-fi movies with and make fun of them by myself. You know, essentially you have these friends with you while you’re by yourself. And I think that’s why it connects with people.”\u003c/p>\n\u003cp>A lot of people. When Hodgson got the rights back and launched a Kickstarter campaign to produce a new season, it broke the crowdfunding site’s record for video projects, raising more than $5.5 million. Super fan Jonah Ray got the call of a lifetime when Hodgson asked him to be the new host.\u003c/p>\n\u003cp>“I was just like, ‘Wha?’ ” he remembers. “How does that even happen? … That’s the one thing I always wanted. Like, when I was growing up, that’s what I wanted.”\u003c/p>\n\u003cp>Netflix signed on to distribute it and the new \u003cem>MST3K\u003c/em> started shooting last fall. The cast includes Baron Vaughn and Hampton Yount as the new robots, and Patton Oswalt and Felicia Day as the new mad scientists.\u003c/p>\n\u003cp>Day also grew up watching \u003cem>MST3K\u003c/em>, and in addition to starring in \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> she created a popular web series called \u003cem>The Guild\u003c/em>. She says \u003cem>MST3K\u003c/em> spawned a whole culture of silly online commentary. “Nowadays people are used to having that commentary in their day-to-day lives, you know. They’re used to commenting on Twitter about, like, ‘Hey, did you see Batman’s new codpiece? It looks like a misshapen face,’ or something.”\u003c/p>\n\u003cp>The Internet is a make-fun-of-everything, snarky place that can sometimes be downright mean — but not \u003cem>MST3K\u003c/em>. “I actually think there’s a kindness to the sense of humor and the overall aspect and tone of \u003cem>Mystery Science Theater\u003c/em>,” Day says. “Joel — on the conference calls when we talk about the movies before we started writing on them — would always talk with love about the movies, never hate. He would be like, ‘Guys, this movie is \u003cem>so awesome\u003c/em>. There’s this thing and he’s flying through the air.’ You’re like, ‘Oh wait, this sounds terrible.’ But Joel \u003cem>loves\u003c/em> it.”\u003c/p>\n\u003cp>Hodgson makes a few on-screen cameos in the new \u003cem>MST3K\u003c/em>, but he mostly stays behind the camera as a writer and creative director. “Honestly, I would have preferred that from the beginning,” he says. “It kind of makes me uptight and it’s a lot of pressure and I just feel so relieved to not have to worry about being on camera. I’m like really happy just being the guy who came up with it and being creative.”\u003c/p>\n\u003cp>Hodgson’s absence as host and head movie-riffer may make nostalgic fans sad, and even lead to some snark online. But we suggest those fans take a cue from \u003ca href=\"https://www.youtube.com/watch?v=VF7cO4t0o9c\" target=\"_blank\" rel=\"noopener\">the show’s theme song\u003c/a>: “Just repeat to yourself, ‘It’s just a show. I should really just relax.’ ”\u003c/p>\n\u003cp>Netflix is releasing the full first season of \u003cem>Mystery Science Theater 3000: The Return\u003c/em> on April 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/2100368/tom-cole\" target=\"_blank\" rel=\"noopener\">Tom Cole\u003c/a> and digital producer \u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\" target=\"_blank\" rel=\"noopener\">Nicole Cohen\u003c/a> contributed to this report.\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=New+%27Mystery+Science+Theater%27+Coming+To+Netflix+In+The+Not-Too-Distant+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, the show acquired such fans as Frank Zappa, Questlove from The Roots, Al Gore and Jonah Ray, a stand-up comic who hosts a parody travel show called \u003cem>Hidden America\u003c/em>. Ray grew up watching \u003cem>MST3K\u003c/em>. He says, “\u003cem>Mystery Science Theater\u003c/em> was someone I could watch old sci-fi movies with and make fun of them by myself. You know, essentially you have these friends with you while you’re by yourself. And I think that’s why it connects with people.”\u003c/p>\n\u003cp>A lot of people. When Hodgson got the rights back and launched a Kickstarter campaign to produce a new season, it broke the crowdfunding site’s record for video projects, raising more than $5.5 million. Super fan Jonah Ray got the call of a lifetime when Hodgson asked him to be the new host.\u003c/p>\n\u003cp>“I was just like, ‘Wha?’ ” he remembers. “How does that even happen? … That’s the one thing I always wanted. Like, when I was growing up, that’s what I wanted.”\u003c/p>\n\u003cp>Netflix signed on to distribute it and the new \u003cem>MST3K\u003c/em> started shooting last fall. The cast includes Baron Vaughn and Hampton Yount as the new robots, and Patton Oswalt and Felicia Day as the new mad scientists.\u003c/p>\n\u003cp>Day also grew up watching \u003cem>MST3K\u003c/em>, and in addition to starring in \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> she created a popular web series called \u003cem>The Guild\u003c/em>. She says \u003cem>MST3K\u003c/em> spawned a whole culture of silly online commentary. “Nowadays people are used to having that commentary in their day-to-day lives, you know. They’re used to commenting on Twitter about, like, ‘Hey, did you see Batman’s new codpiece? It looks like a misshapen face,’ or something.”\u003c/p>\n\u003cp>The Internet is a make-fun-of-everything, snarky place that can sometimes be downright mean — but not \u003cem>MST3K\u003c/em>. “I actually think there’s a kindness to the sense of humor and the overall aspect and tone of \u003cem>Mystery Science Theater\u003c/em>,” Day says. “Joel — on the conference calls when we talk about the movies before we started writing on them — would always talk with love about the movies, never hate. He would be like, ‘Guys, this movie is \u003cem>so awesome\u003c/em>. There’s this thing and he’s flying through the air.’ You’re like, ‘Oh wait, this sounds terrible.’ But Joel \u003cem>loves\u003c/em> it.”\u003c/p>\n\u003cp>Hodgson makes a few on-screen cameos in the new \u003cem>MST3K\u003c/em>, but he mostly stays behind the camera as a writer and creative director. “Honestly, I would have preferred that from the beginning,” he says. “It kind of makes me uptight and it’s a lot of pressure and I just feel so relieved to not have to worry about being on camera. I’m like really happy just being the guy who came up with it and being creative.”\u003c/p>\n\u003cp>Hodgson’s absence as host and head movie-riffer may make nostalgic fans sad, and even lead to some snark online. But we suggest those fans take a cue from \u003ca href=\"https://www.youtube.com/watch?v=VF7cO4t0o9c\" target=\"_blank\" rel=\"noopener\">the show’s theme song\u003c/a>: “Just repeat to yourself, ‘It’s just a show. I should really just relax.’ ”\u003c/p>\n\u003cp>Netflix is releasing the full first season of \u003cem>Mystery Science Theater 3000: The Return\u003c/em> on April 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/2100368/tom-cole\" target=\"_blank\" rel=\"noopener\">Tom Cole\u003c/a> and digital producer \u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\" target=\"_blank\" rel=\"noopener\">Nicole Cohen\u003c/a> contributed to this report.\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=New+%27Mystery+Science+Theater%27+Coming+To+Netflix+In+The+Not-Too-Distant+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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