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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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"title": "Beyoncé, Donald Glover Among this Year's Peabody Award Winners",
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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>\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>\u003c/p>\u003c/div>",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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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"title": "Long-Buried Secrets, Scampering Dreams and a Cat That Talks: 'Eartha'",
"headTitle": "Long-Buried Secrets, Scampering Dreams and a Cat That Talks: ‘Eartha’ | KQED",
"content": "\u003cp>Cathy Malkasian creates fantastic worlds out of her proprietary blend of melancholy and dream-logic, and peoples them with characters who are all too dully, achingly human. Her landscapes and cityscapes, rendered in gorgeous colored pencils, can seem as chilly and remote as her facial expressions seem warm and intimate.\u003c/p>\n\u003cp>In graphic novels like \u003cem>Temperance\u003c/em>, about the lies that the citizens of a walled-off city tell themselves, and in her two \u003cem>Percy Gloom\u003c/em> books, a gentle absurdism asserts itself so quietly that story elements like talking goats and heads that glow come off like prosaic details.\u003c/p>\n\u003cp>That’s important, because without a sense of assured, implacable groundedness, Malkasian’s narratives could easily feel labored, built as they are on such baroque, involuted infrastructure.\u003c/p>\n\u003cp>To wit: the opening pages of \u003cem>Eartha\u003c/em>, Malkasian’s latest, ask the reader to unpack a series of high-concept premises, any one of which could form the basis of its own book:\u003c/p>\n\u003cp>1. Eartha, “big as a boulder and softer than the moss that grew on it,” lives in Echo Fjord, a bucolic land and whose citizens harvest dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>2. Said dreams belong to the residents of a faraway city.\u003c/p>\n\u003cp>3. The dreams that grow out of the ground are detained, and a thick paste called shadow applied to them, to keep them from floating away.\u003c/p>\n\u003cp>4. The dreams’ minders touch the dreams to provide “a boost of energy to ignite them back into themselves.”\u003c/p>\n\u003cp>5. The dreams then scamper through Echo Fjord toward a doorway, giving off brilliant rays of light out of the top of their heads.\u003c/p>\n\u003cp>6. As they pass through the doorway, they dissolve, having achieved their purpose.\u003c/p>\n\u003cfigure id=\"attachment_13037935\" 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/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg\" alt=\"In Cathy Malkasian's 'Eartha,' the title character first enters The City.\" width=\"800\" height=\"656\" class=\"size-medium wp-image-13037935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-960x787.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Cathy Malkasian’s ‘Eartha,’ the title character first enters The City. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s … a lot to take in, granted, but Malkasian is so careful and considered in rendering the array of dreams (the sad, the joyous, the horny and the hateful) that we don’t notice how much narrative work she’s doing.\u003c/p>\n\u003cp>In the pages that follow, Eartha will depart her homeland to make her way to the nameless city, where she — and we — will meet the men and women who sent those dreams to her people across the vast sea. Unguessed-at connections among them will come to light; insights gained in those opening pages will aid Eartha in her quest (as will a talking cat, an intoxicating plum tree, and an old woman who knows more than she’s letting on).\u003c/p>\n\u003cp>Such steel-trap plotting is something new from Malkasian, whose previous graphic novels have felt free to abandon familiar storytelling structure to double-down on some surreal image or theme. She’s consistently shown an eagerness to walk the line between fabulist fiction and social satire, and Eartha is no different: the city’s residents are addicted to biscuits printed with headlines of lurid tragedy (“Sinister Dandruff Muzzle Hen! Septic Jackass Gambles Naked! Prominent Orgy Provokes Rabies!”), and are ruled by thuggish, Mussolini-like figures who encourage the populace to embrace dull-eyed cynicism and performative despair.\u003c/p>\n\u003cp>Eartha will win the day, of course, because she maintains the ability to feel, and dream, and her sense of fairness will protect her from the city’s corrupt politicians and its emotionally bankrupt fascination with the ugliness of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eartha is an extended dream with a fixed moral compass, a story about the central and transformative power of believing in humanity, even when — \u003cem>especially\u003c/em> when — it lets you down. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Long-Buried+Secrets%2C+Scampering+Dreams+And+A+Cat+That+Talks%3A+%27Eartha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cfigure id=\"attachment_13037936\" 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/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg\" alt=\"Eartha comes across the Biscuit Tower, in Cathy Malkasian's 'Eartha.'\" width=\"800\" height=\"677\" class=\"size-medium wp-image-13037936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-960x812.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-375x317.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eartha comes across the Biscuit Tower, in Cathy Malkasian’s ‘Eartha.’ \u003ccite>(Fantagraphic Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cathy Malkasian creates fantastic worlds out of her proprietary blend of melancholy and dream-logic, and peoples them with characters who are all too dully, achingly human. Her landscapes and cityscapes, rendered in gorgeous colored pencils, can seem as chilly and remote as her facial expressions seem warm and intimate.\u003c/p>\n\u003cp>In graphic novels like \u003cem>Temperance\u003c/em>, about the lies that the citizens of a walled-off city tell themselves, and in her two \u003cem>Percy Gloom\u003c/em> books, a gentle absurdism asserts itself so quietly that story elements like talking goats and heads that glow come off like prosaic details.\u003c/p>\n\u003cp>That’s important, because without a sense of assured, implacable groundedness, Malkasian’s narratives could easily feel labored, built as they are on such baroque, involuted infrastructure.\u003c/p>\n\u003cp>To wit: the opening pages of \u003cem>Eartha\u003c/em>, Malkasian’s latest, ask the reader to unpack a series of high-concept premises, any one of which could form the basis of its own book:\u003c/p>\n\u003cp>1. Eartha, “big as a boulder and softer than the moss that grew on it,” lives in Echo Fjord, a bucolic land and whose citizens harvest dreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>2. Said dreams belong to the residents of a faraway city.\u003c/p>\n\u003cp>3. The dreams that grow out of the ground are detained, and a thick paste called shadow applied to them, to keep them from floating away.\u003c/p>\n\u003cp>4. The dreams’ minders touch the dreams to provide “a boost of energy to ignite them back into themselves.”\u003c/p>\n\u003cp>5. The dreams then scamper through Echo Fjord toward a doorway, giving off brilliant rays of light out of the top of their heads.\u003c/p>\n\u003cp>6. As they pass through the doorway, they dissolve, having achieved their purpose.\u003c/p>\n\u003cfigure id=\"attachment_13037935\" 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/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg\" alt=\"In Cathy Malkasian's 'Eartha,' the title character first enters The City.\" width=\"800\" height=\"656\" class=\"size-medium wp-image-13037935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-960x787.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Cathy Malkasian’s ‘Eartha,’ the title character first enters The City. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s … a lot to take in, granted, but Malkasian is so careful and considered in rendering the array of dreams (the sad, the joyous, the horny and the hateful) that we don’t notice how much narrative work she’s doing.\u003c/p>\n\u003cp>In the pages that follow, Eartha will depart her homeland to make her way to the nameless city, where she — and we — will meet the men and women who sent those dreams to her people across the vast sea. Unguessed-at connections among them will come to light; insights gained in those opening pages will aid Eartha in her quest (as will a talking cat, an intoxicating plum tree, and an old woman who knows more than she’s letting on).\u003c/p>\n\u003cp>Such steel-trap plotting is something new from Malkasian, whose previous graphic novels have felt free to abandon familiar storytelling structure to double-down on some surreal image or theme. She’s consistently shown an eagerness to walk the line between fabulist fiction and social satire, and Eartha is no different: the city’s residents are addicted to biscuits printed with headlines of lurid tragedy (“Sinister Dandruff Muzzle Hen! Septic Jackass Gambles Naked! Prominent Orgy Provokes Rabies!”), and are ruled by thuggish, Mussolini-like figures who encourage the populace to embrace dull-eyed cynicism and performative despair.\u003c/p>\n\u003cp>Eartha will win the day, of course, because she maintains the ability to feel, and dream, and her sense of fairness will protect her from the city’s corrupt politicians and its emotionally bankrupt fascination with the ugliness of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eartha is an extended dream with a fixed moral compass, a story about the central and transformative power of believing in humanity, even when — \u003cem>especially\u003c/em> when — it lets you down. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Long-Buried+Secrets%2C+Scampering+Dreams+And+A+Cat+That+Talks%3A+%27Eartha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cfigure id=\"attachment_13037936\" 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/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg\" alt=\"Eartha comes across the Biscuit Tower, in Cathy Malkasian's 'Eartha.'\" width=\"800\" height=\"677\" class=\"size-medium wp-image-13037936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-960x812.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-375x317.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eartha comes across the Biscuit Tower, in Cathy Malkasian’s ‘Eartha.’ \u003ccite>(Fantagraphic Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "East Bay Times Wins Pulitzer for Reporting on Ghost Ship Fire",
"headTitle": "East Bay Times Wins Pulitzer for Reporting on Ghost Ship Fire | KQED",
"content": "\u003cblockquote>\n\u003cp>\u003cem>A massive fire at a Fruitvale district live work space has reportedly left an unconfirmed number of people dead died at an East Oakland work space, authorities said.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The fire apparently broke out about 11:30 p.m. in the 1300 block of 31st Avenue.\u003c/em>\u003c/p>\n\u003cp>\u003cem>No other information was immediately available.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Check back for updates.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>So began the\u003cem> \u003c/em>\u003ca href=\"http://extras.mercurynews.com/ghostship/dayone/#Fifth\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Times\u003c/em>‘ coverage\u003c/a>, at 4:13 on the morning of Dec. 3, 2016 of a fire in Oakland. We would later learn the fire, which took place at a dense underground art space called “Ghost Ship,” had taken 36 lives. Today, the paper’s coverage of the disaster \u003ca href=\"http://www.pulitzer.org/winners/staff-27\" target=\"_blank\" rel=\"noopener\">won a Pulitzer Prize for Breaking News Reporting\u003c/a>.\u003c/p>\n\u003cp>For 19 hours and 27 minutes following that initial publication — at 53 words, including typos — the\u003cem> East Bay Times\u003c/em> expanded its story before ending the day with 1,388 hard-reported words. The first paragraph of the final version of the story reads:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Doomed partygoers trapped on the second floor of a crudely converted warehouse screamed, “Help us! Help us!” as one of the deadliest structure fires in Oakland’s history ripped through a tinderbox of makeshift living spaces and a labyrinth cluttered with art late Friday night, killing at least nine people and possibly dozens more.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Its coverage that day and in those that followed, including first-person accounts of the fire and a memorial to the victims, helped generate conversations worldwide both about local officials’ culpability in Ghost Ship’s lack of safety precautions to the wider responsibility of do-it-yourself and underground art spaces to monitor themselves.\u003c/p>\n\u003cp>As the Pulitzer committee explained, \u003cem>The East Bay Times \u003c/em>won for its “relentless coverage of the ‘Ghost Ship’ fire, which killed 36 people at a warehouse party, and for reporting after the tragedy that exposed the city’s failure to take actions that might have prevented it.” \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=East+Bay+Times+Wins+Pulitzer+For+Reporting+On+Ghost+Ship+Fire&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>\u003cblockquote>\n\u003cp>\u003cem>A massive fire at a Fruitvale district live work space has reportedly left an unconfirmed number of people dead died at an East Oakland work space, authorities said.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The fire apparently broke out about 11:30 p.m. in the 1300 block of 31st Avenue.\u003c/em>\u003c/p>\n\u003cp>\u003cem>No other information was immediately available.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Check back for updates.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>So began the\u003cem> \u003c/em>\u003ca href=\"http://extras.mercurynews.com/ghostship/dayone/#Fifth\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Times\u003c/em>‘ coverage\u003c/a>, at 4:13 on the morning of Dec. 3, 2016 of a fire in Oakland. We would later learn the fire, which took place at a dense underground art space called “Ghost Ship,” had taken 36 lives. Today, the paper’s coverage of the disaster \u003ca href=\"http://www.pulitzer.org/winners/staff-27\" target=\"_blank\" rel=\"noopener\">won a Pulitzer Prize for Breaking News Reporting\u003c/a>.\u003c/p>\n\u003cp>For 19 hours and 27 minutes following that initial publication — at 53 words, including typos — the\u003cem> East Bay Times\u003c/em> expanded its story before ending the day with 1,388 hard-reported words. The first paragraph of the final version of the story reads:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Doomed partygoers trapped on the second floor of a crudely converted warehouse screamed, “Help us! Help us!” as one of the deadliest structure fires in Oakland’s history ripped through a tinderbox of makeshift living spaces and a labyrinth cluttered with art late Friday night, killing at least nine people and possibly dozens more.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Its coverage that day and in those that followed, including first-person accounts of the fire and a memorial to the victims, helped generate conversations worldwide both about local officials’ culpability in Ghost Ship’s lack of safety precautions to the wider responsibility of do-it-yourself and underground art spaces to monitor themselves.\u003c/p>\n\u003cp>As the Pulitzer committee explained, \u003cem>The East Bay Times \u003c/em>won for its “relentless coverage of the ‘Ghost Ship’ fire, which killed 36 people at a warehouse party, and for reporting after the tragedy that exposed the city’s failure to take actions that might have prevented it.” \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=East+Bay+Times+Wins+Pulitzer+For+Reporting+On+Ghost+Ship+Fire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "John Clarke, Who Made Fake News Hilarious, is Mourned in Australia and New Zealand",
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"content": "\u003cp>His pitch-perfect parody of an Australian senator denying the impact of an oil spill once prompted a \u003ca href=\"http://www.snopes.com/photos/politics/frontfell.asp\">Snopes fact-check report\u003c/a>.\u003c/p>\n\u003cp>Satirist John Clarke, whose career spanned from 1970s sketch comedy to bitingly dry political humor, has died, leaving legions of fans in mourning. He was 68.\u003c/p>\n\u003cp>Clarke died from natural causes during a walk in the Victoria bushlands over the weekend, reports the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\">Australian Broadcasting Corporation\u003c/a>, citing a statement from his family. Since then, tributes have poured in from around Australia and Clarke’s native New Zealand.\u003c/p>\n\u003cp>“We’ll wait a long time to find another John Clarke. In fact, we never will,” Australian Prime Minister Malcolm Turnbull \u003ca href=\"https://twitter.com/TurnbullMalcolm/status/851271204979621889\">said via Twitter\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/TurnbullMalcolm/status/851271204979621889\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarke and his partner, Bryan Dawe, made up the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\" target=\"_self\" rel=\"noopener\">Clarke and Dawe\u003c/a> spoof-interview team, which had a long run on the ABC. They performed their “The Front Fell Off” oil spill sketch back in 1991. When a video of it was circulated online more than 15 years later, the sketch perplexed and amused millions of people, prompting Snopes to clarify that the pair were parodying reaction to an actual oil spill by a Greek tanker — which had indeed \u003ca href=\"https://www.amsa.gov.au/environment/protecting-our-environment/major-historical-incidents/Kirki/index.asp\" target=\"_blank\" rel=\"noopener\">“lost its bow off the coast of Western Australia\u003c/a>,” as a government site notes.\u003c/p>\n\u003cp>In 2010, the pair took on BP’s U.S. oil spill \u003ca href=\"https://www.youtube.com/watch?v=ClvLp4vXJ5I\">for another sketch\u003c/a> in which Clarke’s character noted, “The first thing to do in an event like that is to underestimate the problem.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ClvLp4vXJ5I\u003c/p>\n\u003cp>Long before his turn as an Internet star, Clarke was a star in the comedy scenes in Australia and New Zealand. He wrote books and scripts; he recorded songs; he conjured up the sport of \u003ca href=\"http://mrjohnclarke.com/projects/farnarkeling\" target=\"_blank\" rel=\"noopener\">“farnarkeling”\u003c/a> and covered it doggedly.\u003c/p>\n\u003cp>From the ABC:\u003c/p>\n\u003cblockquote>\n\u003cp>“He came to attention in his native New Zealand in the 1970s when he created the iconic character, Fred Dagg, a country bloke dressed in a black singlet, shorts and gumboots.\u003c/p>\n\u003cp>“He co-wrote the multi-award winning mockumentary \u003ca href=\"https://www.youtube.com/watch?v=17NKos-7GCo\" target=\"_blank\" rel=\"noopener\">The Games\u003c/a>, about the Sydney Organizing Committee for the Olympic Games, which aired in 1999 and 2000.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The character of Fred Dagg remains beloved and admired. Upon learning of Clarke’s death, Jemaine Clement of the comedy duo The Conchords \u003ca href=\"https://twitter.com/AJemaineClement/status/851259029951205376\" target=\"_blank\" rel=\"noopener\">shared an early mockumentary segment\u003c/a> featuring Dagg and his “approximately half a dozen” sons — all of whom were named Trevor.\u003c/p>\n\u003cp>“So subtle and hilarious,” Clement wrote.\u003c/p>\n\u003cp>https://twitter.com/AJemaineClement/status/851259029951205376\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actor and director Taika Waititi \u003ca href=\"https://twitter.com/TaikaWaititi/status/851244586596835328\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>, “RIP John Clarke. Hugely influential to me and my mates, he was one of the fathers of NZ’s style of comedy. We all copied him at some point.” \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=John+Clarke%2C+Who+Made+Fake+News+Hilarious%2C+Is+Mourned+In+Australia+And+New+Zealand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His pitch-perfect parody of an Australian senator denying the impact of an oil spill once prompted a \u003ca href=\"http://www.snopes.com/photos/politics/frontfell.asp\">Snopes fact-check report\u003c/a>.\u003c/p>\n\u003cp>Satirist John Clarke, whose career spanned from 1970s sketch comedy to bitingly dry political humor, has died, leaving legions of fans in mourning. He was 68.\u003c/p>\n\u003cp>Clarke died from natural causes during a walk in the Victoria bushlands over the weekend, reports the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\">Australian Broadcasting Corporation\u003c/a>, citing a statement from his family. Since then, tributes have poured in from around Australia and Clarke’s native New Zealand.\u003c/p>\n\u003cp>“We’ll wait a long time to find another John Clarke. In fact, we never will,” Australian Prime Minister Malcolm Turnbull \u003ca href=\"https://twitter.com/TurnbullMalcolm/status/851271204979621889\">said via Twitter\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clarke and his partner, Bryan Dawe, made up the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\" target=\"_self\" rel=\"noopener\">Clarke and Dawe\u003c/a> spoof-interview team, which had a long run on the ABC. They performed their “The Front Fell Off” oil spill sketch back in 1991. When a video of it was circulated online more than 15 years later, the sketch perplexed and amused millions of people, prompting Snopes to clarify that the pair were parodying reaction to an actual oil spill by a Greek tanker — which had indeed \u003ca href=\"https://www.amsa.gov.au/environment/protecting-our-environment/major-historical-incidents/Kirki/index.asp\" target=\"_blank\" rel=\"noopener\">“lost its bow off the coast of Western Australia\u003c/a>,” as a government site notes.\u003c/p>\n\u003cp>In 2010, the pair took on BP’s U.S. oil spill \u003ca href=\"https://www.youtube.com/watch?v=ClvLp4vXJ5I\">for another sketch\u003c/a> in which Clarke’s character noted, “The first thing to do in an event like that is to underestimate the problem.”\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/ClvLp4vXJ5I'\n title='//www.youtube.com/embed/ClvLp4vXJ5I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Long before his turn as an Internet star, Clarke was a star in the comedy scenes in Australia and New Zealand. He wrote books and scripts; he recorded songs; he conjured up the sport of \u003ca href=\"http://mrjohnclarke.com/projects/farnarkeling\" target=\"_blank\" rel=\"noopener\">“farnarkeling”\u003c/a> and covered it doggedly.\u003c/p>\n\u003cp>From the ABC:\u003c/p>\n\u003cblockquote>\n\u003cp>“He came to attention in his native New Zealand in the 1970s when he created the iconic character, Fred Dagg, a country bloke dressed in a black singlet, shorts and gumboots.\u003c/p>\n\u003cp>“He co-wrote the multi-award winning mockumentary \u003ca href=\"https://www.youtube.com/watch?v=17NKos-7GCo\" target=\"_blank\" rel=\"noopener\">The Games\u003c/a>, about the Sydney Organizing Committee for the Olympic Games, which aired in 1999 and 2000.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The character of Fred Dagg remains beloved and admired. Upon learning of Clarke’s death, Jemaine Clement of the comedy duo The Conchords \u003ca href=\"https://twitter.com/AJemaineClement/status/851259029951205376\" target=\"_blank\" rel=\"noopener\">shared an early mockumentary segment\u003c/a> featuring Dagg and his “approximately half a dozen” sons — all of whom were named Trevor.\u003c/p>\n\u003cp>“So subtle and hilarious,” Clement wrote.\u003c/p>\u003c/p>\u003c/div>",
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"title": "The Nuyorican Poets Café, a Cauldron for Poetry and Politics",
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"content": "\u003cp>In the heart of an ever-gentrifying New York City neighborhood, the Nuyorican Poets Café was once called “the most integrated place on the planet” by none other than Beat poet Allen Ginsberg. Today it remains a wildly diverse venue still influenced by its mostly Puerto Rican founders who claimed it as a site of artistry and resistance in 1973.\u003c/p>\n\u003cp>Poet and founder Miguel Algarín and his artist friends just wanted a place to get together to create. By the 1990s, the Café was the epicenter of Slam Poetry in the country.\u003c/p>\n\u003cp>With its focus on spoken word, and slam poetry in particular (though it also hosts hip-hop, rap, and Latin jazz artists), the Café embodies the belief that anyone can take the stage and interpret one of the most accessible art forms. “The philosophy and purpose of the Nuyorican Poets Café has always been to reveal poetry as a living art,” Algarín wrote in the anthology \u003cem>Aloud: Voices from the Nuyorican Poets Café.\u003c/em>\u003c/p>\n\u003cp>That feeling remains.\u003c/p>\n\u003cp>On a recent Open Mic night, for example, audiences were treated to a raunchy stand-up set about girls with big body parts by a tall Haitian man, a convulsive spit session by a wiry New Zealander, a rap performance about coffee and water that elicited plenty of hollering, and a moving socially conscious piece called “Don’t Do That” that felt like a woke listicle come alive thanks to its thumping beats. “Let’s all do the best to not elect a reptile,” the performer intoned, “and don’t do any drugs made in the 80s.” It even called out the rampant homophobia that often greets provocative rap performers: “Don’t say no homo; we’re all gay as f*ck.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. In the words of poet Portia Bartley, who was featured in a recent Poetry Slam night and who was a regular before moving to Los Angeles, the Café “speaks to the marginalized, to anyone who’s usually not granted a safe space to express themselves and speak on their experiences.”\u003c/p>\n\u003cfigure id=\"attachment_13020318\" 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/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png\" alt=\"The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13020318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. \u003ccite>(Courtesy of Nuyorican Cafe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audience has also evolved and now includes not only first-generation Latinos, but African-Americans and Asian-Americans. Daniel Gallant, executive director since 2008, believes that’s exactly the venue’s mission. “What we’ve tried to do in my time at the Café is create as many opportunities as possible for artists who may not otherwise look at slam poetry or spoken word as an accessible art form,” he said. Those Open Mic spots, as well as multiple Poetry Slam Nights every week, are platforms to showcase budding artists to the eager young audience.\u003c/p>\n\u003cp>Among the favorite theme nights is the Wednesday Night Poetry Slam Open where poets are rated by three randomly selected judges before a rapt and raucous audience. Winners earn a spot on the headlining Friday Night Poetry Slam. The reward is part of an embedded teaching philosophy that encourages experimenting and redrafting. “We rather hear a noble failure than a polished success,” Gallant said. This echoes what Mahogany L. Browne, the poetry program curator at the Café, said via email about what makes the space such an invaluable resource.\u003c/p>\n\u003cp>“The reality is that art has been commodified for so long, it is a rarity that there is a space that cultivates community, invests in the act of the building the portfolio of writers/performers, and is a purveyor of the preservation of this constantly re-imagined art form.” While the Café sporadically stages theatrical events (most famously in 2015 with \u003cem>Carmen: A Drinking Opera\u003c/em>), the emphasis remains on the fleeting and the ephemeral.\u003c/p>\n\u003cp>Much of the work showcased at the Café exists at the intersection of art and activism. Given its proximity to the worlds and words of activism, slam poetry remains a hotbed for politically-charged voices. While the Café, a registered nonprofit, is prohibited from taking political stances, performers are not. Recent projects like Benjamin Benne’s queer piece \u003ca href=\"http://www.nuyorican.org/event/1459574-querencia-imagined-new-york/\">\u003cem>Querencia: An Imagined Autobiography about Forbidden Fruits\u003c/em>\u003c/a>\u003cem>, \u003c/em>upcoming PEN World Voices events including “\u003ca href=\"http://www.nuyorican.org/event/1450019-pen-world-voices-us-borders-new-york/\" target=\"_blank\" rel=\"noopener\">US Borders and the Central American Diaspora\u003c/a>,” as well as a summer workshop staging of Ishmael Reed’s new play, \u003ca href=\"http://www.nuyorican.org/event/1462483-ishmael-reed-s-life-among-new-york/\">\u003cem>Life Among the Aryans\u003c/em>\u003c/a>\u003cem>,\u003c/em> merely continue the cultural work that Algarín envisioned, work that speaks to complex cultural and political currents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If people want art that is easy to process, we politely encourage them to go elsewhere,” Gallant 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+Nuyorican+Poets+Caf%C3%A9%2C+A+Cauldron+for+Poetry+And+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It embodies the belief that anyone can take the stage and interpret one of the most accessible art forms and \"reveal poetry as a living art.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the heart of an ever-gentrifying New York City neighborhood, the Nuyorican Poets Café was once called “the most integrated place on the planet” by none other than Beat poet Allen Ginsberg. Today it remains a wildly diverse venue still influenced by its mostly Puerto Rican founders who claimed it as a site of artistry and resistance in 1973.\u003c/p>\n\u003cp>Poet and founder Miguel Algarín and his artist friends just wanted a place to get together to create. By the 1990s, the Café was the epicenter of Slam Poetry in the country.\u003c/p>\n\u003cp>With its focus on spoken word, and slam poetry in particular (though it also hosts hip-hop, rap, and Latin jazz artists), the Café embodies the belief that anyone can take the stage and interpret one of the most accessible art forms. “The philosophy and purpose of the Nuyorican Poets Café has always been to reveal poetry as a living art,” Algarín wrote in the anthology \u003cem>Aloud: Voices from the Nuyorican Poets Café.\u003c/em>\u003c/p>\n\u003cp>That feeling remains.\u003c/p>\n\u003cp>On a recent Open Mic night, for example, audiences were treated to a raunchy stand-up set about girls with big body parts by a tall Haitian man, a convulsive spit session by a wiry New Zealander, a rap performance about coffee and water that elicited plenty of hollering, and a moving socially conscious piece called “Don’t Do That” that felt like a woke listicle come alive thanks to its thumping beats. “Let’s all do the best to not elect a reptile,” the performer intoned, “and don’t do any drugs made in the 80s.” It even called out the rampant homophobia that often greets provocative rap performers: “Don’t say no homo; we’re all gay as f*ck.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. In the words of poet Portia Bartley, who was featured in a recent Poetry Slam night and who was a regular before moving to Los Angeles, the Café “speaks to the marginalized, to anyone who’s usually not granted a safe space to express themselves and speak on their experiences.”\u003c/p>\n\u003cfigure id=\"attachment_13020318\" 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/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png\" alt=\"The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13020318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. \u003ccite>(Courtesy of Nuyorican Cafe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audience has also evolved and now includes not only first-generation Latinos, but African-Americans and Asian-Americans. Daniel Gallant, executive director since 2008, believes that’s exactly the venue’s mission. “What we’ve tried to do in my time at the Café is create as many opportunities as possible for artists who may not otherwise look at slam poetry or spoken word as an accessible art form,” he said. Those Open Mic spots, as well as multiple Poetry Slam Nights every week, are platforms to showcase budding artists to the eager young audience.\u003c/p>\n\u003cp>Among the favorite theme nights is the Wednesday Night Poetry Slam Open where poets are rated by three randomly selected judges before a rapt and raucous audience. Winners earn a spot on the headlining Friday Night Poetry Slam. The reward is part of an embedded teaching philosophy that encourages experimenting and redrafting. “We rather hear a noble failure than a polished success,” Gallant said. This echoes what Mahogany L. Browne, the poetry program curator at the Café, said via email about what makes the space such an invaluable resource.\u003c/p>\n\u003cp>“The reality is that art has been commodified for so long, it is a rarity that there is a space that cultivates community, invests in the act of the building the portfolio of writers/performers, and is a purveyor of the preservation of this constantly re-imagined art form.” While the Café sporadically stages theatrical events (most famously in 2015 with \u003cem>Carmen: A Drinking Opera\u003c/em>), the emphasis remains on the fleeting and the ephemeral.\u003c/p>\n\u003cp>Much of the work showcased at the Café exists at the intersection of art and activism. Given its proximity to the worlds and words of activism, slam poetry remains a hotbed for politically-charged voices. While the Café, a registered nonprofit, is prohibited from taking political stances, performers are not. Recent projects like Benjamin Benne’s queer piece \u003ca href=\"http://www.nuyorican.org/event/1459574-querencia-imagined-new-york/\">\u003cem>Querencia: An Imagined Autobiography about Forbidden Fruits\u003c/em>\u003c/a>\u003cem>, \u003c/em>upcoming PEN World Voices events including “\u003ca href=\"http://www.nuyorican.org/event/1450019-pen-world-voices-us-borders-new-york/\" target=\"_blank\" rel=\"noopener\">US Borders and the Central American Diaspora\u003c/a>,” as well as a summer workshop staging of Ishmael Reed’s new play, \u003ca href=\"http://www.nuyorican.org/event/1462483-ishmael-reed-s-life-among-new-york/\">\u003cem>Life Among the Aryans\u003c/em>\u003c/a>\u003cem>,\u003c/em> merely continue the cultural work that Algarín envisioned, work that speaks to complex cultural and political currents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If people want art that is easy to process, we politely encourage them to go elsewhere,” Gallant 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+Nuyorican+Poets+Caf%C3%A9%2C+A+Cauldron+for+Poetry+And+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Revisiting a Masterpiece: When Frank Sinatra Collaborated with Antonio Carlos Jobim",
"headTitle": "Revisiting a Masterpiece: When Frank Sinatra Collaborated with Antonio Carlos Jobim | KQED",
"content": "\u003cp>Frank Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with a maestro of Brazilian music to make one of the most exquisitely tender albums of his career. That album, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim,\u003c/em> has lost none of its luster since it was first released 50 years ago. In fact, a newly remastered anniversary edition extracts additional depth from Claus Ogerman’s orchestrations, which frame Sinatra’s voice like a Rolex on a velvet cushion.\u003c/p>\n\u003cfigure id=\"attachment_13020312\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg\" alt=\"Frank Sinatra's album with Antonio Carlos Jobim came out 50 years ago this week.\" width=\"200\" height=\"200\" class=\"size-full wp-image-13020312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra’s album with Antonio Carlos Jobim came out 50 years ago this week.\u003c/figcaption>\u003c/figure>\n\u003cp>The album, recorded in Hollywood in the winter of 1967, captures both Sinatra and Jobim at an apex, flush with creative and popular success. Sinatra was coming off a knockout run of albums on his Reprise label — including \u003cem>Sinatra at the Sands\u003c/em>, recorded with the Count Basie Orchestra, and \u003cem>That’s Life, \u003c/em>which yielded an unstoppable single, “Strangers in the Night.”\u003c/p>\n\u003cp>Jobim, a pianist and guitarist as well as a composer, was the beating heart at the center of a worldwide bossa nova craze, following the success of \u003cem>Getz/Gilberto\u003c/em>. A joint effort of the American tenor saxophonist Stan Getz and the Brazilian guitarist and singer João Gilberto, that album also served as a showcase for Jobim’s songs, including “The Girl From Ipanema,” a runaway smash.\u003c/p>\n\u003cfigure id=\"attachment_13020313\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg\" alt=\"Frank Sinatra with Antonio Carlos Jobim in 1967\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13020313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra with Antonio Carlos Jobim in 1967 \u003ccite>(Photo: Ed Thrasher/Courtesy of Frank Sinatra Enterprises)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 50\u003csup>th\u003c/sup> anniversary edition of \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim \u003c/em>has just been \u003ca href=\"https://ume.lnk.to/SinatraJobim50PHY\">released in various formats\u003c/a>, including two vinyl packages. And along with the music from the original album, it includes two previously unreleased tracks: A live medley from a television special, and part of a session reel for “The Girl From Ipanema,” which Sinatra and Jobim sing as a duet.\u003c/p>\n\u003cp>“Don’t let it run away, fellas, with the tempo,” Sinatra cautions at the top of the first take. “Just hold it down, let it settle down. Because it’s got a lot of — it’s got a gang of words.” After the take is finished, he calls for another one, “right away.” His decisive brusqueness strikes a jarring contrast to the singing, which is as delectably airy as a soufflé.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The commercial relevancy of bossa nova is one way to explain Sinatra’s keen interest in Jobim: He was aware of his tenuous position within a cultural moment increasingly defined by The Beatles. But his treatment of this music belies any charge of opportunism. While bossa nova presented a new angle for him as a singer — “I haven’t sung so soft since I had the laryngitis,” he quipped during the sessions — he clearly regarded the style as something more than a novelty.\u003c/p>\n\u003cp>“No other American pop star would so thoroughly immerse himself in the world of bossa,” writes Will Friedwald in his fine critical biography \u003cem>Sinatra! The Song is You: A Singer’s Art. \u003c/em>“He not only recorded two whole albums’ worth of the stuff but sacrificed his signature stylistics in order to more smoothly fit into the new vernacular.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uU1mz6WburU\u003c/p>\n\u003cp>Consider the sensitivity of Sinatra’s phrasing on “Quiet Nights of Quiet Stars,” a version of Jobim’s “Corcovado” with English lyrics by the critic Gene Lees.\u003c/p>\n\u003cp>The balance of voice and orchestration is so impeccably calibrated that it has effectively been canonized: When Diana Krall made her own bossa nova album in 2009, she named it \u003cem>Quiet Nights\u003c/em>, enlisting Ogerman as arranger (who won a Grammy for his efforts).\u003c/p>\n\u003cp>In its original iteration, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> broke into the Top 20 and spent 28 consecutive weeks on the Billboard album chart. According to Michael Bourne, the host of \u003cem>Singers Unlimited\u003c/em> on WBGO, it marked another layer of validation for bossa nova in the American pop mainstream. “Even after the album \u003cem>Getz/Gilberto\u003c/em> won a Grammy as album of the year,” said Bourne, “the Sinatra/Jobim album was a musical apotheosis, a blessing of Jobim’s songs from America’s musical Pope.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There was, however, one distinction that eluded the album. Sinatra had won album of the year at the previous two Grammy Awards — for \u003cem>September of My Years \u003c/em>(1965) and \u003cem>A Man and His Music \u003c/em>(1966) — but he wasn’t destined for a threepeat\u003cem>. \u003c/em>While \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> was nominated, and perhaps even the frontrunner, the top honor went to another album that has stood the test of time: \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/05/522729531/fixing-a-hole-sgt-pepper-remixed-and-reissued-for-50th-anniversary\">\u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Newark Public Radio. To see more, visit \u003ca href=\"http://www.wbgo.org\">Newark Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Revisiting+A+Masterpiece%3A+When+Frank+Sinatra+Collaborated+With+Antonio+Carlos+Jobim&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with the Brazilian maestro for one of the best albums of his career.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Frank Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with a maestro of Brazilian music to make one of the most exquisitely tender albums of his career. That album, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim,\u003c/em> has lost none of its luster since it was first released 50 years ago. In fact, a newly remastered anniversary edition extracts additional depth from Claus Ogerman’s orchestrations, which frame Sinatra’s voice like a Rolex on a velvet cushion.\u003c/p>\n\u003cfigure id=\"attachment_13020312\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg\" alt=\"Frank Sinatra's album with Antonio Carlos Jobim came out 50 years ago this week.\" width=\"200\" height=\"200\" class=\"size-full wp-image-13020312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra’s album with Antonio Carlos Jobim came out 50 years ago this week.\u003c/figcaption>\u003c/figure>\n\u003cp>The album, recorded in Hollywood in the winter of 1967, captures both Sinatra and Jobim at an apex, flush with creative and popular success. Sinatra was coming off a knockout run of albums on his Reprise label — including \u003cem>Sinatra at the Sands\u003c/em>, recorded with the Count Basie Orchestra, and \u003cem>That’s Life, \u003c/em>which yielded an unstoppable single, “Strangers in the Night.”\u003c/p>\n\u003cp>Jobim, a pianist and guitarist as well as a composer, was the beating heart at the center of a worldwide bossa nova craze, following the success of \u003cem>Getz/Gilberto\u003c/em>. A joint effort of the American tenor saxophonist Stan Getz and the Brazilian guitarist and singer João Gilberto, that album also served as a showcase for Jobim’s songs, including “The Girl From Ipanema,” a runaway smash.\u003c/p>\n\u003cfigure id=\"attachment_13020313\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg\" alt=\"Frank Sinatra with Antonio Carlos Jobim in 1967\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13020313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra with Antonio Carlos Jobim in 1967 \u003ccite>(Photo: Ed Thrasher/Courtesy of Frank Sinatra Enterprises)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 50\u003csup>th\u003c/sup> anniversary edition of \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim \u003c/em>has just been \u003ca href=\"https://ume.lnk.to/SinatraJobim50PHY\">released in various formats\u003c/a>, including two vinyl packages. And along with the music from the original album, it includes two previously unreleased tracks: A live medley from a television special, and part of a session reel for “The Girl From Ipanema,” which Sinatra and Jobim sing as a duet.\u003c/p>\n\u003cp>“Don’t let it run away, fellas, with the tempo,” Sinatra cautions at the top of the first take. “Just hold it down, let it settle down. Because it’s got a lot of — it’s got a gang of words.” After the take is finished, he calls for another one, “right away.” His decisive brusqueness strikes a jarring contrast to the singing, which is as delectably airy as a soufflé.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The commercial relevancy of bossa nova is one way to explain Sinatra’s keen interest in Jobim: He was aware of his tenuous position within a cultural moment increasingly defined by The Beatles. But his treatment of this music belies any charge of opportunism. While bossa nova presented a new angle for him as a singer — “I haven’t sung so soft since I had the laryngitis,” he quipped during the sessions — he clearly regarded the style as something more than a novelty.\u003c/p>\n\u003cp>“No other American pop star would so thoroughly immerse himself in the world of bossa,” writes Will Friedwald in his fine critical biography \u003cem>Sinatra! The Song is You: A Singer’s Art. \u003c/em>“He not only recorded two whole albums’ worth of the stuff but sacrificed his signature stylistics in order to more smoothly fit into the new vernacular.”\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/uU1mz6WburU'\n title='//www.youtube.com/embed/uU1mz6WburU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider the sensitivity of Sinatra’s phrasing on “Quiet Nights of Quiet Stars,” a version of Jobim’s “Corcovado” with English lyrics by the critic Gene Lees.\u003c/p>\n\u003cp>The balance of voice and orchestration is so impeccably calibrated that it has effectively been canonized: When Diana Krall made her own bossa nova album in 2009, she named it \u003cem>Quiet Nights\u003c/em>, enlisting Ogerman as arranger (who won a Grammy for his efforts).\u003c/p>\n\u003cp>In its original iteration, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> broke into the Top 20 and spent 28 consecutive weeks on the Billboard album chart. According to Michael Bourne, the host of \u003cem>Singers Unlimited\u003c/em> on WBGO, it marked another layer of validation for bossa nova in the American pop mainstream. “Even after the album \u003cem>Getz/Gilberto\u003c/em> won a Grammy as album of the year,” said Bourne, “the Sinatra/Jobim album was a musical apotheosis, a blessing of Jobim’s songs from America’s musical Pope.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There was, however, one distinction that eluded the album. Sinatra had won album of the year at the previous two Grammy Awards — for \u003cem>September of My Years \u003c/em>(1965) and \u003cem>A Man and His Music \u003c/em>(1966) — but he wasn’t destined for a threepeat\u003cem>. \u003c/em>While \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> was nominated, and perhaps even the frontrunner, the top honor went to another album that has stood the test of time: \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/05/522729531/fixing-a-hole-sgt-pepper-remixed-and-reissued-for-50th-anniversary\">\u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Newark Public Radio. To see more, visit \u003ca href=\"http://www.wbgo.org\">Newark Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Revisiting+A+Masterpiece%3A+When+Frank+Sinatra+Collaborated+With+Antonio+Carlos+Jobim&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
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"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"order": 3
},
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"source": "BBC World Service"
},
"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",
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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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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"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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"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
"commonwealth-club": {
"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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
"forum": {
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"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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"title": "Here & Now",
"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",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
"id": "how-i-built-this",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"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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"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/",
"meta": {
"site": "news",
"source": "npr"
},
"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"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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
},
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