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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Your Name\u003c/em>‘s young director, Makoto Shinkai, brings a frisky pop vibe (the soundtrack is by the Japanese rock band Radwimps) to the lively interplay between the rural idylls and metropolitan Tokyo, with its rush of trains and looming, angled skyscrapers and entitled young hipsters bellowing orders in the restaurant where Mitsuha, uncomfortably lodged in Taki’s body, must learn to cope with urban folkways.\u003c/p>\n\u003cp>For all its twitchy city-kid appeal, \u003cem>Your Name\u003c/em> often seems to cast its vote for history and rural tradition. Based on a classic Japanese poem, the story is shot through with reverence for ancient ritual, as spelled out by a prototypical granny-crone with an acerbic grasp of life’s real business. In many ways this is an old-fashioned movie, exquisitely attuned to the dualism of mind and body, male and female, that strike deep roots in Japanese art and literature down the centuries. The plot does little more than glance incuriously at elements like cyborgs, hacking and gender fluidity.\u003c/p>\n\u003cp>As in Miyazaki, Shinkai’s casual feminism gives us a boy who sews and a girl who spits, and its impulses are broadly humanistic rather than in-your-face challenging. Taki and Mitsuha’s entertainingly rendered initial panic on discovering strange new body parts where flatness once prevailed soon gives way to an intense desire to connect. The action segues nimbly from one to the other as the teens, both motherless and both suffering from inattentive fathers, find ways to communicate across space and time via text message and, when that fails, by other creative means. As the comet closes in, both draft their friends to try and save the town — and to get in sync with the mysterious Other who has invaded their dreams as well as their bodies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With its gods and extra-real dimensions, its staccato beat of memory and forgetting that guide the journey, \u003cem>Your Name\u003c/em> shimmers with the magic of a fairy tale, yet also has its feet firmly planted on the ground of Japan’s past and present. Undeterred by constant setbacks, Taki and Mitsuha move uncertainly toward one another in a journey to adulthood that must be carried out alone and entail the shedding of long-cherished illusions as well as their alternate selves. When they finally meet, the encounter will bring several new meanings to “You had me at hello.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ikutaro Kakehashi, the founder of the Japanese music company Roland, died yesterday at the age of 87. The news was confirmed by the company in a statement.\u003c/p>\n\u003cp>Decades of hits performed by everyone from Marvin Gaye to Madonna used Roland’s iconic inventions. Kakehashi was also one of the original architects of MIDI, a method introduced in 1983 of getting different musical machines to “talk” to each other and which is still in used regularly around the world.\u003c/p>\n\u003cp>When we think of the people who shaped popular music, we tend to think of the big stars on stage — but a dazzling array of new instruments and new sounds were unleashed in the 20th century that expanded the palettes of these artists. Inventors drove this sonic revolution, playing a role behind the scenes as important to musical history as those in the spotlight; the invention of the synthesizer was as vital as the invention of the electric guitar, while drum machines formed the bedrock for entire genres like hip-hop and techno.\u003c/p>\n\u003cp>Kakehashi began dreaming of electronic instruments early, in the 1950s. Back then, synthesizers as we know them now didn’t exist; there were a few lumbering behemoths lurking in laboratories and university corridors, such as the RCA Mark II synthesizer, installed in 1957 at the Columbia-Princeton Electronic Music Center. The \u003ca href=\"https://en.wikipedia.org/wiki/Theremin\">theremin\u003c/a> existed, but it only made one kind of sound — a fantastic sound, to be sure, but its uses were limited. Composers devised ways of making electronic music using tape machines, in a practice known as \u003cem>musique concrète\u003c/em>. Others, such as Louis and Bebe Barron, experimented with homemade circuits. Independent inventors, like Raymond Scott in New York and Oskar Sala in Germany, were building intriguing prototypes of proto-synthesizers, but these devices weren’t accessible to the general public.\u003c/p>\n\u003cp>Then, the inventors Robert Moog and Don Buchla started having big ideas and, in the early 1960s, they designed — and later, mass-produced — the first sophisticated electronic musical instruments that would be recognizable today as synthesizers. Around the same time, thousands of miles away in Japan, Kakehashi was formulating his own inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/thebugzoo/status/848283605386350592\u003c/p>\n\u003cp>Kakehashi got his start after World War II with a modest business repairing watches and broken clocks. His life wasn’t easy; his parents died in the 1930s of tuberculosis and he spent several years in the hospital himself fighting off a near-deadly bout with the disease. When he was, many years later in the 1950s, released from the hospital, he started trying to invent his own electronic instruments.\u003c/p>\n\u003cp>In 1960, Kakehashi started Ace Electronic Industries, also known as Ace Tone. He designed electric organs inspired by the Hammond organ, amplifiers and effects devices, and ‘rhythm machines’ — early drum machines — like the popular Rhythm Ace. But the real action began when Kakehashi founded Roland on April 18, 1972, a story detailed masterfully some years ago \u003ca href=\"http://www.soundonsound.com/music-business/history-roland-part-1\">by Gordon Reid in the magazine \u003cem>Sound on Sound\u003c/em>\u003c/a> and in Kakehashi’s own memoir, \u003cem>I Believe in Music\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Japan had several companies by then that were hitting it big in the music world. Yamaha had a head start — it began in the late 19\u003csup>th\u003c/sup> century and founder Torakasu Yamaha’s first creation, in 1887, was a reed organ. Another Japanese company, Korg, was founded in 1962 by Tsutomo Katoh and Tadashi Osanai. Kakehashi also started another successful music company, Boss, which focused on effects pedals for guitars and bass.\u003c/p>\n\u003cp>https://twitter.com/chris_carter_/status/848429717984333825\u003c/p>\n\u003cp>Under Kakehashi’s lead, Roland’s engineers developed synths, effects units, drum machines, and many other devices at a furious clip. The Jupiter-6, Space Echo, SH-101 and many others created in this electronic renaissance are still prized by musicians today. But Roland’s most famous inventions — the TB-303 “bass synthesizer,” used to create the rubbery, spacey timbres that defined \u003ca href=\"https://www.youtube.com/watch?v=AmB9nktFBpE\" target=\"_blank\" rel=\"noopener\">acid house\u003c/a>, and the TR-808 and TR-909 drum machines — were creations of the 1980s that seemed to have little commercial potential when they first launched. (Roland actually discontinued the 808 in 1983, three years after it was introduced.) The 808’s candy-colored keys, clunky preset sounds, and small size made it seem more like a Fisher-Price toy than a serious instrument. But that was part of its enduring genius. There was nothing intimidating about the little Roland machines — unlike most synthesizers and drum machines of the time, which tended to be large, expensive, and hard to program.\u003c/p>\n\u003cfigure id=\"attachment_12994780\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg\" alt=\"Roland's TR-808 drum machine, which would go on to have an outsized impact on popular music.\" width=\"700\" height=\"408\" class=\"size-full wp-image-12994780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-520x303.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Roland’s TR-808 drum machine, which would go on to have an outsized impact on popular music. \u003ccite>(Photo: Brandon Daniel/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 808’s distinctive sounds, from its cowbell to the snare hit, became iconic and formed an essential element of the deep language within\u003cstrong> \u003c/strong>genres like electro, hip-hop, and house. The 808 model number even became something of a meme in pop culture — a word used in everything from band names (see 808 State) to a Kanye West album \u003ca href=\"https://en.wikipedia.org/wiki/808s_%26_Heartbreak\">title\u003c/a>. Recently, the 808 was even the subject of its own feature-length documentary, \u003ca href=\"http://808themovie.com/\">808\u003c/a>.\u003c/p>\n\u003cp>For Kakehashi, the 808 was just another invention in a long line of them — one that spurred him to include only a minor mention of it in his memoir. Roland was bigger than one drum machine or one synthesizer; Kakehashi’s vision had extended to a whole new way of looking at music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Technologies are creating previously undreamed-of avenues of expression in many different fields,” he wrote in \u003cem>I Believe in Music\u003c/em>. “It is a wonderfully rich age for artists of all sorts.” \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=Ikutaro+Kakehashi%2C+Founder+Of+Roland%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ikutaro Kakehashi, the founder of the Japanese music company Roland, died yesterday at the age of 87. The news was confirmed by the company in a statement.\u003c/p>\n\u003cp>Decades of hits performed by everyone from Marvin Gaye to Madonna used Roland’s iconic inventions. Kakehashi was also one of the original architects of MIDI, a method introduced in 1983 of getting different musical machines to “talk” to each other and which is still in used regularly around the world.\u003c/p>\n\u003cp>When we think of the people who shaped popular music, we tend to think of the big stars on stage — but a dazzling array of new instruments and new sounds were unleashed in the 20th century that expanded the palettes of these artists. Inventors drove this sonic revolution, playing a role behind the scenes as important to musical history as those in the spotlight; the invention of the synthesizer was as vital as the invention of the electric guitar, while drum machines formed the bedrock for entire genres like hip-hop and techno.\u003c/p>\n\u003cp>Kakehashi began dreaming of electronic instruments early, in the 1950s. Back then, synthesizers as we know them now didn’t exist; there were a few lumbering behemoths lurking in laboratories and university corridors, such as the RCA Mark II synthesizer, installed in 1957 at the Columbia-Princeton Electronic Music Center. The \u003ca href=\"https://en.wikipedia.org/wiki/Theremin\">theremin\u003c/a> existed, but it only made one kind of sound — a fantastic sound, to be sure, but its uses were limited. Composers devised ways of making electronic music using tape machines, in a practice known as \u003cem>musique concrète\u003c/em>. Others, such as Louis and Bebe Barron, experimented with homemade circuits. Independent inventors, like Raymond Scott in New York and Oskar Sala in Germany, were building intriguing prototypes of proto-synthesizers, but these devices weren’t accessible to the general public.\u003c/p>\n\u003cp>Then, the inventors Robert Moog and Don Buchla started having big ideas and, in the early 1960s, they designed — and later, mass-produced — the first sophisticated electronic musical instruments that would be recognizable today as synthesizers. Around the same time, thousands of miles away in Japan, Kakehashi was formulating his own inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Kakehashi got his start after World War II with a modest business repairing watches and broken clocks. His life wasn’t easy; his parents died in the 1930s of tuberculosis and he spent several years in the hospital himself fighting off a near-deadly bout with the disease. When he was, many years later in the 1950s, released from the hospital, he started trying to invent his own electronic instruments.\u003c/p>\n\u003cp>In 1960, Kakehashi started Ace Electronic Industries, also known as Ace Tone. He designed electric organs inspired by the Hammond organ, amplifiers and effects devices, and ‘rhythm machines’ — early drum machines — like the popular Rhythm Ace. But the real action began when Kakehashi founded Roland on April 18, 1972, a story detailed masterfully some years ago \u003ca href=\"http://www.soundonsound.com/music-business/history-roland-part-1\">by Gordon Reid in the magazine \u003cem>Sound on Sound\u003c/em>\u003c/a> and in Kakehashi’s own memoir, \u003cem>I Believe in Music\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Japan had several companies by then that were hitting it big in the music world. Yamaha had a head start — it began in the late 19\u003csup>th\u003c/sup> century and founder Torakasu Yamaha’s first creation, in 1887, was a reed organ. Another Japanese company, Korg, was founded in 1962 by Tsutomo Katoh and Tadashi Osanai. Kakehashi also started another successful music company, Boss, which focused on effects pedals for guitars and bass.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Under Kakehashi’s lead, Roland’s engineers developed synths, effects units, drum machines, and many other devices at a furious clip. The Jupiter-6, Space Echo, SH-101 and many others created in this electronic renaissance are still prized by musicians today. But Roland’s most famous inventions — the TB-303 “bass synthesizer,” used to create the rubbery, spacey timbres that defined \u003ca href=\"https://www.youtube.com/watch?v=AmB9nktFBpE\" target=\"_blank\" rel=\"noopener\">acid house\u003c/a>, and the TR-808 and TR-909 drum machines — were creations of the 1980s that seemed to have little commercial potential when they first launched. (Roland actually discontinued the 808 in 1983, three years after it was introduced.) The 808’s candy-colored keys, clunky preset sounds, and small size made it seem more like a Fisher-Price toy than a serious instrument. But that was part of its enduring genius. There was nothing intimidating about the little Roland machines — unlike most synthesizers and drum machines of the time, which tended to be large, expensive, and hard to program.\u003c/p>\n\u003cfigure id=\"attachment_12994780\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg\" alt=\"Roland's TR-808 drum machine, which would go on to have an outsized impact on popular music.\" width=\"700\" height=\"408\" class=\"size-full wp-image-12994780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-520x303.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Roland’s TR-808 drum machine, which would go on to have an outsized impact on popular music. \u003ccite>(Photo: Brandon Daniel/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 808’s distinctive sounds, from its cowbell to the snare hit, became iconic and formed an essential element of the deep language within\u003cstrong> \u003c/strong>genres like electro, hip-hop, and house. The 808 model number even became something of a meme in pop culture — a word used in everything from band names (see 808 State) to a Kanye West album \u003ca href=\"https://en.wikipedia.org/wiki/808s_%26_Heartbreak\">title\u003c/a>. Recently, the 808 was even the subject of its own feature-length documentary, \u003ca href=\"http://808themovie.com/\">808\u003c/a>.\u003c/p>\n\u003cp>For Kakehashi, the 808 was just another invention in a long line of them — one that spurred him to include only a minor mention of it in his memoir. Roland was bigger than one drum machine or one synthesizer; Kakehashi’s vision had extended to a whole new way of looking at music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Technologies are creating previously undreamed-of avenues of expression in many different fields,” he wrote in \u003cem>I Believe in Music\u003c/em>. “It is a wonderfully rich age for artists of all sorts.” \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=Ikutaro+Kakehashi%2C+Founder+Of+Roland%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From time to time in Hirokazu Kore-eda’s gently incisive family drama \u003cem>After the Storm\u003c/em>, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives. If you’ve seen any other of Kore-eda’s leisurely character studies — \u003cem>Nobody Knows\u003c/em>, say, or last year’s lovely \u003cem>Our Little Sister\u003c/em> — you’ll know not to expect much in the way of action, let alone spectacles.\u003c/p>\n\u003cp>Watch and listen closely, though, and worlds of deeply felt, awkwardly expressed passion will unfold in and around a cramped apartment in a nondescript high-rise that has aged along with the inhabitants who raised families there. There, Ryôta’s mother, Yoshiko (Kilin Kiki), ekes out her last years on an income slashed to the rind by her late husband’s gambling losses. No victim, she: In her ebulliently acid way Yoshiko is a resilient survivor. Which is more than can be said of her son as he comes and goes, trying to make his peace with a family that doesn’t exactly run on oiled wheels.\u003c/p>\n\u003cp>https://youtu.be/MISbcZZvSPI\u003c/p>\n\u003cp>Every Kore-eda family portrait functions, the director has said, as an inquiry from different angles into his own early experience. Almost invariably there’s a feckless father; maternal dragons in various shades of bracing; and in the foreground a floundering younger generation struggling not to repeat their elders’ mistakes even as they do that very thing. As lost souls go, Ryôta may be Kore-eda’s most hapless: Tall and handsome but red-eyed and long-faced, this man-child with shirt perennially untucked walks with the shambling, head-down gait of one who fears he’s as much of a screw-up as his father.\u003c/p>\n\u003cp>While gathering material for a new novel that’s not noticeably getting written, Ryôta shakes down cheaters and adulterers for his sleazy boss at the agency, then squanders his meager earnings at the racetrack instead of paying child support to his beautiful ex-wife Kyoko (Yoko Maki), whom he clearly loves as much as he does his sweet young son (Taiyo Yoshizawa) whom he manages to serially fail. It’s telling that Ryôta still seeks validation from his plainspoken mother, who has her son’s number (“You’re taking too long to bloom”) but who, we will see, has given up neither on him nor on life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As always, Kor-eda offers little by way of plot. Instead he builds the dynamic between his characters out of an accumulating wealth of seemingly banal detail: A woman wordlessly vacuuming up broken glass; a tangerine tree that bears no blossom or fruit but “I water it every day like it’s you”; a man obsessively rummaging through drawers for the wrong treasure. Like his creator, Ryôta is a meticulous observer of others. But he’s pretty clueless about his own motives until the arrival of the typhoon brings the family together, not entirely by accident, for the night in his mother’s apartment.\u003c/p>\n\u003cp>If Yoshiko provides much of the movie’s tartly unsentimental comedy (who else would make someone a gift of her son’s umbilical cord?), she’s also the source of its wisdom and the carrier of Kore-eda’s insight into how mired we are in self-defeating delusion, how harsh in our judgment of others, how wacky in our fantasies that Action A will lead inexorably to Desired Outcome B. Before the film’s end, more than one member of this patched-together, clumsily durable family will cry out piteously that things weren’t supposed to turn out like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On paper such insights can seem trite, but Kore-eda fills them to the brim with the rich muddle of life, of endless aspiration, repeated failure, unlooked-for internal reboots. Near the end of the movie, Ryôta and two of his imperfectly loved ones sit out the storm inside a ridiculous pink structure in a nearby park, eating stale cookies and sharing memories. There’s no Hollywood ending here, only a mutual nudging toward rueful understanding of how to go forward, and the creation of one of those cherished moments out of which, in the gospel according to Kore-eda, the good life is built.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From time to time in Hirokazu Kore-eda’s gently incisive family drama \u003cem>After the Storm\u003c/em>, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives. If you’ve seen any other of Kore-eda’s leisurely character studies — \u003cem>Nobody Knows\u003c/em>, say, or last year’s lovely \u003cem>Our Little Sister\u003c/em> — you’ll know not to expect much in the way of action, let alone spectacles.\u003c/p>\n\u003cp>Watch and listen closely, though, and worlds of deeply felt, awkwardly expressed passion will unfold in and around a cramped apartment in a nondescript high-rise that has aged along with the inhabitants who raised families there. There, Ryôta’s mother, Yoshiko (Kilin Kiki), ekes out her last years on an income slashed to the rind by her late husband’s gambling losses. No victim, she: In her ebulliently acid way Yoshiko is a resilient survivor. Which is more than can be said of her son as he comes and goes, trying to make his peace with a family that doesn’t exactly run on oiled wheels.\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/MISbcZZvSPI'\n title='//www.youtube.com/embed/MISbcZZvSPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Every Kore-eda family portrait functions, the director has said, as an inquiry from different angles into his own early experience. Almost invariably there’s a feckless father; maternal dragons in various shades of bracing; and in the foreground a floundering younger generation struggling not to repeat their elders’ mistakes even as they do that very thing. As lost souls go, Ryôta may be Kore-eda’s most hapless: Tall and handsome but red-eyed and long-faced, this man-child with shirt perennially untucked walks with the shambling, head-down gait of one who fears he’s as much of a screw-up as his father.\u003c/p>\n\u003cp>While gathering material for a new novel that’s not noticeably getting written, Ryôta shakes down cheaters and adulterers for his sleazy boss at the agency, then squanders his meager earnings at the racetrack instead of paying child support to his beautiful ex-wife Kyoko (Yoko Maki), whom he clearly loves as much as he does his sweet young son (Taiyo Yoshizawa) whom he manages to serially fail. It’s telling that Ryôta still seeks validation from his plainspoken mother, who has her son’s number (“You’re taking too long to bloom”) but who, we will see, has given up neither on him nor on life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As always, Kor-eda offers little by way of plot. Instead he builds the dynamic between his characters out of an accumulating wealth of seemingly banal detail: A woman wordlessly vacuuming up broken glass; a tangerine tree that bears no blossom or fruit but “I water it every day like it’s you”; a man obsessively rummaging through drawers for the wrong treasure. Like his creator, Ryôta is a meticulous observer of others. But he’s pretty clueless about his own motives until the arrival of the typhoon brings the family together, not entirely by accident, for the night in his mother’s apartment.\u003c/p>\n\u003cp>If Yoshiko provides much of the movie’s tartly unsentimental comedy (who else would make someone a gift of her son’s umbilical cord?), she’s also the source of its wisdom and the carrier of Kore-eda’s insight into how mired we are in self-defeating delusion, how harsh in our judgment of others, how wacky in our fantasies that Action A will lead inexorably to Desired Outcome B. Before the film’s end, more than one member of this patched-together, clumsily durable family will cry out piteously that things weren’t supposed to turn out like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On paper such insights can seem trite, but Kore-eda fills them to the brim with the rich muddle of life, of endless aspiration, repeated failure, unlooked-for internal reboots. Near the end of the movie, Ryôta and two of his imperfectly loved ones sit out the storm inside a ridiculous pink structure in a nearby park, eating stale cookies and sharing memories. There’s no Hollywood ending here, only a mutual nudging toward rueful understanding of how to go forward, and the creation of one of those cherished moments out of which, in the gospel according to Kore-eda, the good life is built.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bob Dylan will be accepting his Nobel Prize in literature this weekend, according to the permanent secretary of the Swedish Academy. In a blog post Tuesday, Sara Danius announced the “good news” that members of the academy will be meeting with Dylan when he makes a tour stop in Stockholm.\u003c/p>\n\u003cp>“The Swedish Academy is very much looking forward to the weekend and will show up at one of the performances” Dylan is delivering on Saturday and Sunday, \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/29/good-news-about-dylan/\" target=\"_blank\" rel=\"noopener\">Danius writes\u003c/a>. “The Academy will then hand over Dylan’s Nobel diploma and the Nobel medal, and congratulate him on the Nobel Prize in Literature.”\u003c/p>\n\u003cp>She adds: “The setting will be small and intimate, and no media will be present; only Bob Dylan and members of the Academy will attend, all according to Dylan’s wishes.”\u003c/p>\n\u003cp>In \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/27/dylans-konserter/\" target=\"_blank\" rel=\"noopener\">a previous post\u003c/a>, Danius was careful to note that the tour date in Stockholm had been planned well before Dylan won the prize, which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/13/497780610/bob-dylan-titan-of-american-music-wins-the-2016-nobel-prize-in-literature\" target=\"_blank\" rel=\"noopener\">he was awarded\u003c/a> in October “for having created new poetic expressions within the great American song tradition,” according to the Swedish Academy’s citation.\u003c/p>\n\u003cp>“He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius said at the time, explaining the decision to award a musician a prize that for more than a century has principally been doled out to novelists, poets and essayists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet the unusual decision was just the first installment of what came to be an unusual saga — as Dylan first \u003ca href=\"http://www.npr.org/2016/10/24/499121073/world-waits-for-bob-dylan-to-acknowledge-his-nobel\">waited more than two weeks\u003c/a> to acknowledge the award, then \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/16/502312155/bob-dylan-wont-be-picking-up-his-nobel-prize-in-person\">begged off\u003c/a> attending the December ceremony where it was to be doled out. Dylan sent a personal letter to the academy saying he could not make it to Stockholm then due to “pre-existing commitments.”\u003c/p>\n\u003cp>Instead, Patti Smith spelled Dylan for \u003ca href=\"https://youtu.be/DVXQaOhpfJU\">a moving rendition\u003c/a> of his classic, “A Hard Rain’s Gonna Fall.”\u003c/p>\n\u003cp>It remains unclear whether this weekend’s meeting portends warmer embrace of the prize from Dylan, who has yet to fulfill his one requirement to receive the roughly $900,000 that comes with it: delivery of the Nobel lecture, a traditional talk on a topic of the laureate’s choosing.\u003c/p>\n\u003cp>That requirement, set by the rules of the Nobel Foundation, must be satisfied by June 10 for Dylan to pick up the prize money.\u003c/p>\n\u003cp>“Please note that no Nobel Lecture will be held. The Academy has reason to believe that a taped version will be sent at a later point,” Danius says in her post, noting that if he sends a taped lecture, he will not be the first.\u003c/p>\n\u003cp>Alice Munro, the 2013 laureate, had to send a taped lecture because of health woes, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/10/21/238967288/book-news-health-woes-will-keep-munro-from-nobel-ceremony\" target=\"_blank\" rel=\"noopener\">as we reported then\u003c/a>.\u003c/p>\n\u003cp>Dylan did, however, write an acceptance speech for the December ceremony \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/dylan-speech.html\" target=\"_blank\" rel=\"noopener\">that was delivered\u003c/a> by the U.S. ambassador to Sweden, Azita Raji.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone had ever told me that I had the slightest chance of winning the Nobel prize,” Dylan wrote, “I would have to think that I’d have about the same odds as standing on the moon.” \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=Bob+Dylan+Agrees+To+Accept+His+Nobel+Prize+During+A+Tour+Stop+In+Stockholm&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bob Dylan will be accepting his Nobel Prize in literature this weekend, according to the permanent secretary of the Swedish Academy. In a blog post Tuesday, Sara Danius announced the “good news” that members of the academy will be meeting with Dylan when he makes a tour stop in Stockholm.\u003c/p>\n\u003cp>“The Swedish Academy is very much looking forward to the weekend and will show up at one of the performances” Dylan is delivering on Saturday and Sunday, \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/29/good-news-about-dylan/\" target=\"_blank\" rel=\"noopener\">Danius writes\u003c/a>. “The Academy will then hand over Dylan’s Nobel diploma and the Nobel medal, and congratulate him on the Nobel Prize in Literature.”\u003c/p>\n\u003cp>She adds: “The setting will be small and intimate, and no media will be present; only Bob Dylan and members of the Academy will attend, all according to Dylan’s wishes.”\u003c/p>\n\u003cp>In \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/27/dylans-konserter/\" target=\"_blank\" rel=\"noopener\">a previous post\u003c/a>, Danius was careful to note that the tour date in Stockholm had been planned well before Dylan won the prize, which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/13/497780610/bob-dylan-titan-of-american-music-wins-the-2016-nobel-prize-in-literature\" target=\"_blank\" rel=\"noopener\">he was awarded\u003c/a> in October “for having created new poetic expressions within the great American song tradition,” according to the Swedish Academy’s citation.\u003c/p>\n\u003cp>“He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius said at the time, explaining the decision to award a musician a prize that for more than a century has principally been doled out to novelists, poets and essayists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet the unusual decision was just the first installment of what came to be an unusual saga — as Dylan first \u003ca href=\"http://www.npr.org/2016/10/24/499121073/world-waits-for-bob-dylan-to-acknowledge-his-nobel\">waited more than two weeks\u003c/a> to acknowledge the award, then \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/16/502312155/bob-dylan-wont-be-picking-up-his-nobel-prize-in-person\">begged off\u003c/a> attending the December ceremony where it was to be doled out. Dylan sent a personal letter to the academy saying he could not make it to Stockholm then due to “pre-existing commitments.”\u003c/p>\n\u003cp>Instead, Patti Smith spelled Dylan for \u003ca href=\"https://youtu.be/DVXQaOhpfJU\">a moving rendition\u003c/a> of his classic, “A Hard Rain’s Gonna Fall.”\u003c/p>\n\u003cp>It remains unclear whether this weekend’s meeting portends warmer embrace of the prize from Dylan, who has yet to fulfill his one requirement to receive the roughly $900,000 that comes with it: delivery of the Nobel lecture, a traditional talk on a topic of the laureate’s choosing.\u003c/p>\n\u003cp>That requirement, set by the rules of the Nobel Foundation, must be satisfied by June 10 for Dylan to pick up the prize money.\u003c/p>\n\u003cp>“Please note that no Nobel Lecture will be held. The Academy has reason to believe that a taped version will be sent at a later point,” Danius says in her post, noting that if he sends a taped lecture, he will not be the first.\u003c/p>\n\u003cp>Alice Munro, the 2013 laureate, had to send a taped lecture because of health woes, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/10/21/238967288/book-news-health-woes-will-keep-munro-from-nobel-ceremony\" target=\"_blank\" rel=\"noopener\">as we reported then\u003c/a>.\u003c/p>\n\u003cp>Dylan did, however, write an acceptance speech for the December ceremony \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/dylan-speech.html\" target=\"_blank\" rel=\"noopener\">that was delivered\u003c/a> by the U.S. ambassador to Sweden, Azita Raji.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone had ever told me that I had the slightest chance of winning the Nobel prize,” Dylan wrote, “I would have to think that I’d have about the same odds as standing on the moon.” \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=Bob+Dylan+Agrees+To+Accept+His+Nobel+Prize+During+A+Tour+Stop+In+Stockholm&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With his large-scale, exuberant paintings, artist Kerry James Marshall is on a mission: to make the presence of black people and black culture in the art world “indispensable” and “undeniable.” Now 61, Marshall was a young artist when he decided to paint exclusively black figures.\u003c/p>\n\u003cp>“One of the reasons I paint black people is because I am a black person …” he says. “There are fewer representations of black figures in the historical record …”\u003c/p>\n\u003cp>Marshall was born in Birmingham, Ala., in 1955, just before the Montgomery Bus Boycott began. He grew up in South Central, Los Angeles, and was living in the Watts neighborhood in 1965, when riots broke out in protest of police brutality.\u003c/p>\n\u003cp>“The hope was always to make sure these works found their way into museums so they could exist alongside everything else that people go into museums to look at,” Marshall says.\u003c/p>\n\u003cp>And it’s worked — a 35-year retrospective of his work has appeared at New York’s Metropolitan Museum of Art, Chicago’s Museum of Contemporary Art, and now, the Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His paintings depict daily life — people planting gardens, picnicking and getting haircuts. Helen Molesworth, curator of the Museum of Contemporary Art exhibit, points out Marshall’s 1993 work, \u003cem>De Style.\u003c/em>\u003cem> \u003c/em>“I consider this to be Kerry’s first great painting,” she says. It’s a massive canvas that shows a scene in a barbershop.\u003c/p>\n\u003cfigure id=\"attachment_12969275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg\" alt='\"De Style,\" acrylic and collage on canvas, 1993' width=\"800\" height=\"690\" class=\"size-medium wp-image-12969275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-768x662.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1020x879.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1920x1655.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1180x1017.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-375x323.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-520x448.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De Style,” acrylic and collage on canvas, 1993 \u003ccite>(Photo: LACMA, licensed by Art Resource, NY/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s going to give you an image of blackness, of African-American culture, of daily life that is both rooted in everyday pleasures, but also transcendent at the same time,” Molesworth says.\u003c/p>\n\u003cp>Molesworth’s favorite painting, \u003cem>School of Beauty, School of Culture\u003c/em> is monumental. It bursts with riotous colors and spirited life. The work shows women’s space — little kids play as ladies pose and primp.\u003c/p>\n\u003cp>“One of the things that these pictures show us over and over again is that the category of beauty is really large,” Molesworth says. “If whiteness is the only form of beauty you see, you are operating in a pretty small universe.”\u003c/p>\n\u003cp>People can get emotional in front of these paintings.\u003c/p>\n\u003cp>“I’ve seen people kiss in front of Kerry James Marshall paintings …” Molesworth says. “These paintings are emotional — they are filled with love.”\u003c/p>\n\u003cp>It’s not all happiness on these walls, though — there are funerals, killers, lost boys, anger and grief — but always depicted in bright, bold colors and powerful shapes.\u003c/p>\n\u003cp>Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. Lovers stroll along groomed lawns, men rake and plant flowers, children ride bikes and run dogs.\u003c/p>\n\u003cfigure id=\"attachment_12969276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg\" alt=\"Marshall's 1994 "Garden Project" series shows the early, utopian days of public housing in Chicago and Los Angeles.\" width=\"800\" height=\"372\" class=\"size-medium wp-image-12969276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-768x357.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1920x893.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-960x446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-375x174.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-520x242.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. \u003ccite>(Photo: Brian Forrest/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s kind of a mixed message and it has everything to do with what people expect in a painting that’s about housing projects,” Marshall says.\u003c/p>\n\u003cp>In one, a man sits on one hip, leaning forward on the grass, supported by extended arms. He stares directly at us — very seriously. Behind him, white paint blots a big sign that says \u003cem>Welcome to Altgeld Gardens.\u003c/em> \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/16/9b/1d/169b1d75062c5294a9f9ae7c97c6663c.jpg\" target=\"_blank\" rel=\"noopener\">Click here to get a closer look at the painting.\u003c/a> Some might perceive desperation in his eyes — but not the artist.\u003c/p>\n\u003cp>“I know better,” says Marshall, who has lived in public housing. “I know it’s not so despairing. … When I look at his demeanor, I see contentment. That’s what I see. The gaze out at the spectator, there’s a certain uncertainty about the way he sees himself being perceived by the spectator.”\u003c/p>\n\u003cp>These are not romanticized images; they are vivid, energetic, real-life reports — and Marshall wants those reports on museums walls. His works have sold at auction for $1 million and $2 million. And his paintings are part of the permanent collections of the Met, the National Gallery, the Museum of Fine Arts Boston and more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you’re trying to create is a certain kind of an indispensable presence,” Marshall says. “Where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody’s a friend, or somebody’s being generous to you. But you want a presence in the narrative that’s not negotiable, that’s undeniable.” \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=Kerry+James+Marshall%3A+A+Black+Presence+In+The+Art+World+Is+%27Not+Negotiable%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "For decades, the 61-year-old artist has depicted black lives on canvas. He says inclusion in museums must not be contingent on \"whether somebody likes you ... or somebody's being generous to you.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his large-scale, exuberant paintings, artist Kerry James Marshall is on a mission: to make the presence of black people and black culture in the art world “indispensable” and “undeniable.” Now 61, Marshall was a young artist when he decided to paint exclusively black figures.\u003c/p>\n\u003cp>“One of the reasons I paint black people is because I am a black person …” he says. “There are fewer representations of black figures in the historical record …”\u003c/p>\n\u003cp>Marshall was born in Birmingham, Ala., in 1955, just before the Montgomery Bus Boycott began. He grew up in South Central, Los Angeles, and was living in the Watts neighborhood in 1965, when riots broke out in protest of police brutality.\u003c/p>\n\u003cp>“The hope was always to make sure these works found their way into museums so they could exist alongside everything else that people go into museums to look at,” Marshall says.\u003c/p>\n\u003cp>And it’s worked — a 35-year retrospective of his work has appeared at New York’s Metropolitan Museum of Art, Chicago’s Museum of Contemporary Art, and now, the Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His paintings depict daily life — people planting gardens, picnicking and getting haircuts. Helen Molesworth, curator of the Museum of Contemporary Art exhibit, points out Marshall’s 1993 work, \u003cem>De Style.\u003c/em>\u003cem> \u003c/em>“I consider this to be Kerry’s first great painting,” she says. It’s a massive canvas that shows a scene in a barbershop.\u003c/p>\n\u003cfigure id=\"attachment_12969275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg\" alt='\"De Style,\" acrylic and collage on canvas, 1993' width=\"800\" height=\"690\" class=\"size-medium wp-image-12969275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-768x662.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1020x879.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1920x1655.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1180x1017.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-375x323.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-520x448.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De Style,” acrylic and collage on canvas, 1993 \u003ccite>(Photo: LACMA, licensed by Art Resource, NY/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s going to give you an image of blackness, of African-American culture, of daily life that is both rooted in everyday pleasures, but also transcendent at the same time,” Molesworth says.\u003c/p>\n\u003cp>Molesworth’s favorite painting, \u003cem>School of Beauty, School of Culture\u003c/em> is monumental. It bursts with riotous colors and spirited life. The work shows women’s space — little kids play as ladies pose and primp.\u003c/p>\n\u003cp>“One of the things that these pictures show us over and over again is that the category of beauty is really large,” Molesworth says. “If whiteness is the only form of beauty you see, you are operating in a pretty small universe.”\u003c/p>\n\u003cp>People can get emotional in front of these paintings.\u003c/p>\n\u003cp>“I’ve seen people kiss in front of Kerry James Marshall paintings …” Molesworth says. “These paintings are emotional — they are filled with love.”\u003c/p>\n\u003cp>It’s not all happiness on these walls, though — there are funerals, killers, lost boys, anger and grief — but always depicted in bright, bold colors and powerful shapes.\u003c/p>\n\u003cp>Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. Lovers stroll along groomed lawns, men rake and plant flowers, children ride bikes and run dogs.\u003c/p>\n\u003cfigure id=\"attachment_12969276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg\" alt=\"Marshall's 1994 "Garden Project" series shows the early, utopian days of public housing in Chicago and Los Angeles.\" width=\"800\" height=\"372\" class=\"size-medium wp-image-12969276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-768x357.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1920x893.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-960x446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-375x174.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-520x242.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. \u003ccite>(Photo: Brian Forrest/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s kind of a mixed message and it has everything to do with what people expect in a painting that’s about housing projects,” Marshall says.\u003c/p>\n\u003cp>In one, a man sits on one hip, leaning forward on the grass, supported by extended arms. He stares directly at us — very seriously. Behind him, white paint blots a big sign that says \u003cem>Welcome to Altgeld Gardens.\u003c/em> \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/16/9b/1d/169b1d75062c5294a9f9ae7c97c6663c.jpg\" target=\"_blank\" rel=\"noopener\">Click here to get a closer look at the painting.\u003c/a> Some might perceive desperation in his eyes — but not the artist.\u003c/p>\n\u003cp>“I know better,” says Marshall, who has lived in public housing. “I know it’s not so despairing. … When I look at his demeanor, I see contentment. That’s what I see. The gaze out at the spectator, there’s a certain uncertainty about the way he sees himself being perceived by the spectator.”\u003c/p>\n\u003cp>These are not romanticized images; they are vivid, energetic, real-life reports — and Marshall wants those reports on museums walls. His works have sold at auction for $1 million and $2 million. And his paintings are part of the permanent collections of the Met, the National Gallery, the Museum of Fine Arts Boston and more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you’re trying to create is a certain kind of an indispensable presence,” Marshall says. “Where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody’s a friend, or somebody’s being generous to you. But you want a presence in the narrative that’s not negotiable, that’s undeniable.” \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=Kerry+James+Marshall%3A+A+Black+Presence+In+The+Art+World+Is+%27Not+Negotiable%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first opera hit the stage over 400 years ago. More recently, the art form has been adapted to modern media: In the 1920s and ’30s, operas were written to be performed on the radio, and in 1951, NBC commissioned Gian Carlo Menotti to compose \u003cem>Amahl And The Night Visitors\u003c/em> for television.\u003c/p>\n\u003cp>Now, a company called \u003ca href=\"https://www.therainyparkopera.com/\" target=\"_blank\" rel=\"noopener\">Rainy Park Opera\u003c/a> is creating operas for the internet.\u003c/p>\n\u003cp>The project started over a beer. On one stool: Adam Taylor, a young filmmaker based in Los Angeles. On the other: Scott Joiner, an opera singer working on his doctorate at the Manhattan School of Music.\u003c/p>\n\u003cp>“We had both semi-recently come out of long relationships, and we had both discovered, in our 30s, this dating app [Tinder],” Joiner says. “[It] makes dating so different from when we first started dating, before the millennium.”\u003c/p>\n\u003cp>Joiner composed the music for and sings the lead in “Connection Lost: The Tinder Opera,” an opera about a young man trying to connect through Tinder and failing. His character goes from scene to scene around New York, phone in front of him — just like all the women he finds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor, who directed and wrote the screenplay, says that the entire 11-minute soundtrack was recorded first, and the video was shot to fit. That turned out to be very handy for the singers.\u003c/p>\n\u003cp>“They’re holding the phone in the shots, mimicking the Tinder app, and at the same time,\u003cem> \u003c/em>the playback is coming through their phone, so they’re holding it right by their face, they’re able to lip-sync it,” Taylor says. “Then we edit the film and we place the original recorded tracks over the lip-syncing, and put it together that way.”\u003c/p>\n\u003cp>Heidi Waleson, the opera critic for \u003cem>The Wall Street Journal\u003c/em>, says it “felt very millennial.”\u003c/p>\n\u003cp>“It just puts opera in a different medium,” she says. “And since that medium is something that so many people participate in, then why not have opera as a — you know — integral part of that medium?”\u003c/p>\n\u003cp>“The Tinder Opera” is scored for 10 female singers, two male singers, a pair of pianos and a string quartet. Everyone volunteered their services, so the entire budget was just $2,000. After the opera debuted last April on YouTube, a backer offered to pay for a sequel. With a cast dominated by women, Taylor immediately thought of \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>“‘The Tinder Opera’\u003cem> \u003c/em>sort of talked about how the phone has devolved our ability to interact on a relationship level,” Taylor says. “The television — or, more specifically, a show like \u003cem>The Bachelor\u003c/em> — has sort of destroyed this idea of marriage, where, you know, two people can meet on a television show, and on the last episode they get married.”\u003c/p>\n\u003cp>Much to Joiner and Taylor’s surprise, Opera Carolina in Charlotte, N.C., staged “The Tinder Opera” this past fall. Next season, they’re doing it again as a double bill with the sequel: “The Bachelor Opera.”\u003c/p>\n\u003cp>“The operas that were written for television didn’t mean that you never saw it in the theater again,” Waleson explains. “The operas that were written for radio didn’t mean you never saw it in the theater again. So, you know, the operas that are purely online — it’s the same thing!”\u003c/p>\n\u003cp>A month after “The Tinder Opera” debuted online, the New York-based ensemble \u003ca href=\"http://experimentsinopera.com/portfolio-item/video-operas/\" target=\"_blank\" rel=\"noopener\">Experiments in Opera\u003c/a> premiered five video works in a theater. And later this spring, a West Coast project called \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">Vireo\u003c/a> will release an episodic opera online and on public television. Scott Joiner is thrilled by the activity.\u003c/p>\n\u003cp>“We’re all trying to integrate this old singing art form with a new visual film, television medium,” Joiner says. “But the results of the few people doing it are wildly different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joiner and Taylor’s next work will be … what else? “L’Opera di Facebook.” \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=%27The+Tinder+Opera%27+Creators+Hope+You+Swipe+Right+On+Online+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first opera hit the stage over 400 years ago. More recently, the art form has been adapted to modern media: In the 1920s and ’30s, operas were written to be performed on the radio, and in 1951, NBC commissioned Gian Carlo Menotti to compose \u003cem>Amahl And The Night Visitors\u003c/em> for television.\u003c/p>\n\u003cp>Now, a company called \u003ca href=\"https://www.therainyparkopera.com/\" target=\"_blank\" rel=\"noopener\">Rainy Park Opera\u003c/a> is creating operas for the internet.\u003c/p>\n\u003cp>The project started over a beer. On one stool: Adam Taylor, a young filmmaker based in Los Angeles. On the other: Scott Joiner, an opera singer working on his doctorate at the Manhattan School of Music.\u003c/p>\n\u003cp>“We had both semi-recently come out of long relationships, and we had both discovered, in our 30s, this dating app [Tinder],” Joiner says. “[It] makes dating so different from when we first started dating, before the millennium.”\u003c/p>\n\u003cp>Joiner composed the music for and sings the lead in “Connection Lost: The Tinder Opera,” an opera about a young man trying to connect through Tinder and failing. His character goes from scene to scene around New York, phone in front of him — just like all the women he finds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taylor, who directed and wrote the screenplay, says that the entire 11-minute soundtrack was recorded first, and the video was shot to fit. That turned out to be very handy for the singers.\u003c/p>\n\u003cp>“They’re holding the phone in the shots, mimicking the Tinder app, and at the same time,\u003cem> \u003c/em>the playback is coming through their phone, so they’re holding it right by their face, they’re able to lip-sync it,” Taylor says. “Then we edit the film and we place the original recorded tracks over the lip-syncing, and put it together that way.”\u003c/p>\n\u003cp>Heidi Waleson, the opera critic for \u003cem>The Wall Street Journal\u003c/em>, says it “felt very millennial.”\u003c/p>\n\u003cp>“It just puts opera in a different medium,” she says. “And since that medium is something that so many people participate in, then why not have opera as a — you know — integral part of that medium?”\u003c/p>\n\u003cp>“The Tinder Opera” is scored for 10 female singers, two male singers, a pair of pianos and a string quartet. Everyone volunteered their services, so the entire budget was just $2,000. After the opera debuted last April on YouTube, a backer offered to pay for a sequel. With a cast dominated by women, Taylor immediately thought of \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>“‘The Tinder Opera’\u003cem> \u003c/em>sort of talked about how the phone has devolved our ability to interact on a relationship level,” Taylor says. “The television — or, more specifically, a show like \u003cem>The Bachelor\u003c/em> — has sort of destroyed this idea of marriage, where, you know, two people can meet on a television show, and on the last episode they get married.”\u003c/p>\n\u003cp>Much to Joiner and Taylor’s surprise, Opera Carolina in Charlotte, N.C., staged “The Tinder Opera” this past fall. Next season, they’re doing it again as a double bill with the sequel: “The Bachelor Opera.”\u003c/p>\n\u003cp>“The operas that were written for television didn’t mean that you never saw it in the theater again,” Waleson explains. “The operas that were written for radio didn’t mean you never saw it in the theater again. So, you know, the operas that are purely online — it’s the same thing!”\u003c/p>\n\u003cp>A month after “The Tinder Opera” debuted online, the New York-based ensemble \u003ca href=\"http://experimentsinopera.com/portfolio-item/video-operas/\" target=\"_blank\" rel=\"noopener\">Experiments in Opera\u003c/a> premiered five video works in a theater. And later this spring, a West Coast project called \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">Vireo\u003c/a> will release an episodic opera online and on public television. Scott Joiner is thrilled by the activity.\u003c/p>\n\u003cp>“We’re all trying to integrate this old singing art form with a new visual film, television medium,” Joiner says. “But the results of the few people doing it are wildly different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joiner and Taylor’s next work will be … what else? “L’Opera di Facebook.” \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=%27The+Tinder+Opera%27+Creators+Hope+You+Swipe+Right+On+Online+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Curmudgeonly Know-It-All Meets The Daughter He Doesn't: 'Wilson'",
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"content": "\u003cp>The namesake of \u003cem>Wilson\u003c/em> is the kind of guy people try to avoid on the bus, at the sidewalk cafe, or while using the adjacent urinal. Yet the makers of this deadpan comedy want us to spend 90 minutes with him.\u003c/p>\n\u003cp>The experience isn’t painful, but it is a little frustrating. Playing the reclusive, misanthropic, yet oddly gregarious title character, Woody Harrelson is as engaging as the man’s personality allows. But \u003cem>Wilson\u003c/em> struggles with tone, shifting from monotonously bleak to predictably satirical to improbably sanguine.\u003c/p>\n\u003cp>The movie was adapted from a graphic novel by Daniel Clowes, and offers another take on the premise of \u003cem>Ghost World\u003c/em>, the best of the three films derived from his work: A disaffected middle-aged man bonds with an alienated teenage girl. But this time the story takes the viewpoint of the man, who lacks the winning adolescent sass of \u003cem>Ghost World\u003c/em>‘s Enid and her pal, Rebecca. (The other\u003csup>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=520412045#footnote\">1\u003c/a>\u003c/sup> film based on Clowes comic was 2006’s \u003cem>Art School Confidential\u003c/em>.)\u003c/p>\n\u003cp>https://youtu.be/w9S6bDzLUgk\u003c/p>\n\u003cp>Wilson is a lonely guy who’s about to get lonelier: His dad is dying and his best friend is moving to St. Louis. (Wilson’s tattered, semi-urban habitat is not identified, but the comic is set in Oakland, where Clowes lives.) Wilson will be left with just his adorable terrier, so he makes some tentative attempts to broaden his social circle. He fails, but in the process is introduced to something he’s been carefully avoiding: the Internet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The namesake of \u003cem>Wilson\u003c/em> is the kind of guy people try to avoid on the bus, at the sidewalk cafe, or while using the adjacent urinal. Yet the makers of this deadpan comedy want us to spend 90 minutes with him.\u003c/p>\n\u003cp>The experience isn’t painful, but it is a little frustrating. Playing the reclusive, misanthropic, yet oddly gregarious title character, Woody Harrelson is as engaging as the man’s personality allows. But \u003cem>Wilson\u003c/em> struggles with tone, shifting from monotonously bleak to predictably satirical to improbably sanguine.\u003c/p>\n\u003cp>The movie was adapted from a graphic novel by Daniel Clowes, and offers another take on the premise of \u003cem>Ghost World\u003c/em>, the best of the three films derived from his work: A disaffected middle-aged man bonds with an alienated teenage girl. But this time the story takes the viewpoint of the man, who lacks the winning adolescent sass of \u003cem>Ghost World\u003c/em>‘s Enid and her pal, Rebecca. (The other\u003csup>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=520412045#footnote\">1\u003c/a>\u003c/sup> film based on Clowes comic was 2006’s \u003cem>Art School Confidential\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w9S6bDzLUgk'\n title='//www.youtube.com/embed/w9S6bDzLUgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wilson is a lonely guy who’s about to get lonelier: His dad is dying and his best friend is moving to St. Louis. (Wilson’s tattered, semi-urban habitat is not identified, but the comic is set in Oakland, where Clowes lives.) Wilson will be left with just his adorable terrier, so he makes some tentative attempts to broaden his social circle. He fails, but in the process is introduced to something he’s been carefully avoiding: the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Internet Movie Database (IMDb) has adopted the F-rating, a classification system designed to champion women in film.\u003c/p>\n\u003cp>The new rating was created three years ago by Holly Tarquini, executive director of the Bath Film Festival, to “support women in film and change the stories we see on screen.” The Bath festival created \u003ca href=\"http://f-rated.org/\">a website for the rating\u003c/a>, which says:\u003c/p>\n\u003cp>“The F-Rating is a classification for any film which\u003c/p>\n\u003col>\n\u003cli>is directed by a woman\u003c/li>\n\u003cli>is written by a woman\u003c/li>\n\u003cli>features significant women on screen in their own right.”\u003c/li>\n\u003c/ol>\n\u003cp>Tarquini says that the rating was inspired by the Bechdel test, a system devised by cartoonist Alison Bechdel to identify works of fiction that feature at least two women talking about topics other than a man.\u003c/p>\n\u003cp>Ellen Telje’s “A” rating did something similar in Swedish cinemas in 2013, but Tarquini broadened the scope for her F-rating to include women’s contributions not just on-camera, but behind the camera. At the 2014 Bath Film Festival, where the rating was first introduced, 17 of the 42 films received the F-rating. More than 40 festivals and theater chains have adopted the rating since its inception.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now they’ve been joined by IMDb, an online database of info about films, TV programs and video games, which is a subsidiary of Amazon. With listings of more than 4.1 million titles (including TV episodes) IMDb’s adoption of the F-rating will significantly broaden the new rating’s reach.\u003c/p>\n\u003cp>IMDb has attached the F-rating to more than 22,000 films in its listings, and for films that feature all three qualifiers — that is, that were written by, directed by, and feature complex women characters — the site awards a triple-F rating. Thus far, there are 81 films that have qualified for a triple-F, including \u003cem>Clueless\u003c/em>, Pixar’s \u003cem>Brave\u003c/em>, \u003cem>Belle\u003c/em>, \u003cem>My Brilliant Career\u003c/em>, and the upcoming \u003cem>The Zookeeper’s Wife\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, the site does not feature the F or Triple-F ratings nearly as prominently as it does, say, such MPAA ratings as PG-13 and R. To find women-centered films on IMDb.com you need to use “F-rated” as a keyword search, and then sort through some 22,000 titles. Or you can reduce the search by looking only for women-directed titles (of which there are nearly 1,500), or films with a female protagonist. \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=IMDb+Adopts+F-Rating+Of+Women%27s+Contributions+To+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now they’ve been joined by IMDb, an online database of info about films, TV programs and video games, which is a subsidiary of Amazon. With listings of more than 4.1 million titles (including TV episodes) IMDb’s adoption of the F-rating will significantly broaden the new rating’s reach.\u003c/p>\n\u003cp>IMDb has attached the F-rating to more than 22,000 films in its listings, and for films that feature all three qualifiers — that is, that were written by, directed by, and feature complex women characters — the site awards a triple-F rating. Thus far, there are 81 films that have qualified for a triple-F, including \u003cem>Clueless\u003c/em>, Pixar’s \u003cem>Brave\u003c/em>, \u003cem>Belle\u003c/em>, \u003cem>My Brilliant Career\u003c/em>, and the upcoming \u003cem>The Zookeeper’s Wife\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, the site does not feature the F or Triple-F ratings nearly as prominently as it does, say, such MPAA ratings as PG-13 and R. To find women-centered films on IMDb.com you need to use “F-rated” as a keyword search, and then sort through some 22,000 titles. Or you can reduce the search by looking only for women-directed titles (of which there are nearly 1,500), or films with a female protagonist. \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=IMDb+Adopts+F-Rating+Of+Women%27s+Contributions+To+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Trump's Electronics Restrictions Could Cause Headaches for Touring Musicians",
"headTitle": "Trump’s Electronics Restrictions Could Cause Headaches for Touring Musicians | KQED",
"content": "\u003cp>The news that the U.S. is placing restrictions on what airline passengers can carry in the cabin on direct flights from eight majority-Muslim nations is creating ripples of concern throughout the arts community.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>According to the rules newly issued by President Trump’s administration, passengers must check most electronic devices — including laptops, cameras and tablets — into their checked baggage. Travelers will still be allowed to carry their mobile phones in their hand luggage.\u003c/p>\n\u003cp>Just as international businesspeople and tourists may be concerned about possible thefts, data breaches, lithium battery hazards and other potential forms of damage, musicians are beginning to grapple with the possible effects that these restrictions may have on their live performances. Many artists bring along work gear in the cabin when they tour — and elements of their shows (including electronic music and visual projections) might well be stored on their laptops, tablets and other devices that now will be relegated to the cargo hold, if the artists travel on the affected carriers.\u003c/p>\n\u003cp>The regulations are directed towards flights coming into the U.S. from eight majority-Muslim countries who are all traditionally allies of the U.S.: Egypt, Kuwait, Jordan, Morocco, Qatar, Saudi Arabia, Turkey and the United Arab Emirates. According to our colleague Greg Myre who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/03/21/520896835/u-s-limits-electronic-devices-on-flights-from-8-muslim-countries\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> on this story for \u003cem>Morning Edition\u003c/em>, the new rules affect passengers on about 50 incoming flights per day, on travelers traveling on non-U.S. carriers. As Myre also notes, the eight affected countries include “every major travel hub in the region except Israel’s main airport just outside Tel Aviv.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the airports on the list also serve as major transportation hubs to other international destinations, including Dubai (which is now the \u003ca href=\"http://www.telegraph.co.uk/travel/news/busiest-airport-international-passengers/\" target=\"_blank\" rel=\"noopener\">busiest airport\u003c/a> in the world, beating out the likes of London’s Heathrow and Hong Kong); Istanbul, an important connection point between Europe and Asia; and Casablanca, a popular hub for travelers coming to and from elsewhere in Africa.\u003c/p>\n\u003cp>Some prominent American musicians have tour dates in several of these cities in the coming weeks, including pianist and composer Vijay Iyer, who is slated to peform at NYU Abu Dhabi’s Arts Center on March 30 and 31 with his trio Tirtha and ICE (International Contemporary Ensemble); the group Pink Martini, who has dates in Casablanca (April 9 at the Jazzablanca festival) and Istanbul (April 15 at the Volkswagen Arena); and hip-hop artists Earl Sweatshirt and Danny Brown, as well as singer Julianna Barwick, who are all slated to perform in Dubai on April 14 as part of the RBMA Weekender Dubai festival.\u003c/p>\n\u003cp>Iyer says that the Abu Dhabi concerts include quite a bit of the exact kinds of equipment that the new regulations target. The performances are of \u003cem>\u003ca href=\"http://nyuad.nyu.edu/en/news-events/abu-dhabi-events/2017/03/radhe-radhe-rites-of-holi.html\" target=\"_blank\" rel=\"noopener\">Radhe Radhe: Rites of Holi\u003c/a>\u003c/em>, a multi-media, film and live-music project which Iyer created with the late filmmaker Prashant Bhargava.\u003c/p>\n\u003cp>“In \u003cem>Radhe Radhe\u003c/em>,” Iyer explains, “there are multiple laptops involved — one for video run from front of house, one for audio cues run by me from the stage, and whatever system used to run front-of-house sound — not to mention a lot of instruments and gear all around.”\u003c/p>\n\u003cp>“Many of the ICE musicians read their music on iPads,” he continues, “using a foot switch to turn virtual pages. It seems we’d have to check these items only on the way home, but of course then we’d all be worried about loss, damage or theft. I’m guessing we still won’t be allowed to lock these cases.” Iyer points out that if musicians were traveling on an American carrier or routing through Europe, they wouldn’t be having these issues; instead, they’re booked on a foreign carrier.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Iyer adds that he, along with other musicians, have spent this morning looking into various solutions for getting gear back home to the U.S. \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=Trump%27s+Electronics+Restrictions+Could+Cause+Headaches+For+Touring+Musicians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The news that the U.S. is placing restrictions on what airline passengers can carry in the cabin on direct flights from eight majority-Muslim nations is creating ripples of concern throughout the arts community.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>According to the rules newly issued by President Trump’s administration, passengers must check most electronic devices — including laptops, cameras and tablets — into their checked baggage. Travelers will still be allowed to carry their mobile phones in their hand luggage.\u003c/p>\n\u003cp>Just as international businesspeople and tourists may be concerned about possible thefts, data breaches, lithium battery hazards and other potential forms of damage, musicians are beginning to grapple with the possible effects that these restrictions may have on their live performances. Many artists bring along work gear in the cabin when they tour — and elements of their shows (including electronic music and visual projections) might well be stored on their laptops, tablets and other devices that now will be relegated to the cargo hold, if the artists travel on the affected carriers.\u003c/p>\n\u003cp>The regulations are directed towards flights coming into the U.S. from eight majority-Muslim countries who are all traditionally allies of the U.S.: Egypt, Kuwait, Jordan, Morocco, Qatar, Saudi Arabia, Turkey and the United Arab Emirates. According to our colleague Greg Myre who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/03/21/520896835/u-s-limits-electronic-devices-on-flights-from-8-muslim-countries\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> on this story for \u003cem>Morning Edition\u003c/em>, the new rules affect passengers on about 50 incoming flights per day, on travelers traveling on non-U.S. carriers. As Myre also notes, the eight affected countries include “every major travel hub in the region except Israel’s main airport just outside Tel Aviv.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the airports on the list also serve as major transportation hubs to other international destinations, including Dubai (which is now the \u003ca href=\"http://www.telegraph.co.uk/travel/news/busiest-airport-international-passengers/\" target=\"_blank\" rel=\"noopener\">busiest airport\u003c/a> in the world, beating out the likes of London’s Heathrow and Hong Kong); Istanbul, an important connection point between Europe and Asia; and Casablanca, a popular hub for travelers coming to and from elsewhere in Africa.\u003c/p>\n\u003cp>Some prominent American musicians have tour dates in several of these cities in the coming weeks, including pianist and composer Vijay Iyer, who is slated to peform at NYU Abu Dhabi’s Arts Center on March 30 and 31 with his trio Tirtha and ICE (International Contemporary Ensemble); the group Pink Martini, who has dates in Casablanca (April 9 at the Jazzablanca festival) and Istanbul (April 15 at the Volkswagen Arena); and hip-hop artists Earl Sweatshirt and Danny Brown, as well as singer Julianna Barwick, who are all slated to perform in Dubai on April 14 as part of the RBMA Weekender Dubai festival.\u003c/p>\n\u003cp>Iyer says that the Abu Dhabi concerts include quite a bit of the exact kinds of equipment that the new regulations target. The performances are of \u003cem>\u003ca href=\"http://nyuad.nyu.edu/en/news-events/abu-dhabi-events/2017/03/radhe-radhe-rites-of-holi.html\" target=\"_blank\" rel=\"noopener\">Radhe Radhe: Rites of Holi\u003c/a>\u003c/em>, a multi-media, film and live-music project which Iyer created with the late filmmaker Prashant Bhargava.\u003c/p>\n\u003cp>“In \u003cem>Radhe Radhe\u003c/em>,” Iyer explains, “there are multiple laptops involved — one for video run from front of house, one for audio cues run by me from the stage, and whatever system used to run front-of-house sound — not to mention a lot of instruments and gear all around.”\u003c/p>\n\u003cp>“Many of the ICE musicians read their music on iPads,” he continues, “using a foot switch to turn virtual pages. It seems we’d have to check these items only on the way home, but of course then we’d all be worried about loss, damage or theft. I’m guessing we still won’t be allowed to lock these cases.” Iyer points out that if musicians were traveling on an American carrier or routing through Europe, they wouldn’t be having these issues; instead, they’re booked on a foreign carrier.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Iyer adds that he, along with other musicians, have spent this morning looking into various solutions for getting gear back home to the U.S. \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=Trump%27s+Electronics+Restrictions+Could+Cause+Headaches+For+Touring+Musicians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Man Charged After Attack on Painting at London's National Gallery",
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"content": "\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \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=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \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=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>https://www.youtube.com/watch?v=1FeuSdL61MY\u003c/p>\n\u003cp>Folks on Sesame Street have a way of making everyone feel accepted.\u003c/p>\n\u003cp>That certainly goes for Julia, a Muppet youngster with blazing red hair, bright green eyes — and autism. Rather than being treated like an outsider, which too often is the plight of kids on the spectrum, Julia is one of the gang.\u003c/p>\n\u003cp>Look: On this friendliest of streets (actually Studio J at New York's Kaufman Astoria Studios, where \"Sesame Street\" lives) Julia is about to play a game with Oscar, Abby and Grover. In this scene being taped for airing next season, these Muppet chums have been challenged to spot objects shaped like squares or circles or triangles.\u003c/p>\n\u003cp>\"You're lucky,\" says Abby to Grover. \"You have Julia on your team, and she is really good at finding shapes!\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With that, they skedaddle, an exit that calls for the six Muppeteers squatted out of sight below them to scramble accordingly. Joining her pals, Julia (performed by Stacey Gordon) takes off hunting.\u003c/p>\n\u003cp>For more than a year, Julia has existed in print and digital illustrations as the centerpiece of a multifaceted initiative by Sesame Workshop called \"Sesame Street and Autism: See Amazing in All Children.\"\u003c/p>\n\u003cp>She has been the subject of a storybook released along with videos, e-books, an app and website. The goal is to promote a better understanding of what the Autism Speaks advocacy group describes as \"a range of conditions characterized by challenges with social skills, repetitive behaviors, speech and nonverbal communication, as well as by unique strengths and differences.\"\u003c/p>\n\u003cp>But now Julia has been brought to life in fine Muppet fettle. She makes her TV debut on \"Sesame Street\" in the \"Meet Julia\" episode airing April 10 on both PBS and HBO. Additional videos featuring Julia will be available online.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M8QQRtA0hVA\u003c/p>\n\u003cp>Developing Julia and all the other components of this campaign has required years of consultation with organizations, experts and families within the autism community, according to Jeanette Betancourt, Sesame Workshop's senior vice president of U.S. Social Impact.\u003c/p>\n\u003cp>\"In the U.S., one in 68 children is diagnosed with autism spectrum disorder,\" she says. \"We wanted to promote a better understanding and reduce the stigma often found around these children. We're modeling the way both children and adults can look at autism from a strength-based perspective: finding things that all children share.\"\u003c/p>\n\u003cp>Julia is at the heart of this effort. But while she represents the full range of children on the spectrum, she isn't meant to typify each one of them: \"Just as we look at all children as being unique, we should do the same thing when we're looking at children with autism,\" Betancourt says.\u003c/p>\n\u003cp>It was with keen interest that Stacey Gordon first learned of Julia more than a year ago. \"I said, 'If she's ever a puppet, I want to BE Julia!'\"\u003c/p>\n\u003cp>No wonder. Gordon is a Phoenix-based puppeteer who performs, conducts classes and workshops, and creates whimsical puppets for sale to the public.\u003c/p>\n\u003cp>She also has a son with autism, and, before she started her family, was a therapist to youngsters on the spectrum.\u003c/p>\n\u003cp>Although she figured her chances of landing the dream role of Julia were nil, her contacts in the puppet world paid off: Two friends who worked as Muppeteers on \"Sesame Street\" dropped her name to the producers. After submitting tapes, then coming to New York for an audition, she was hired.\u003c/p>\n\u003cp>In the introductory segment, Julia is having fun with Abby and Elmo when Big Bird walks up. He wants to be her new friend, but she doesn't speak to him. He thinks she doesn't like him.\u003c/p>\n\u003cp>\"She does things just a little differently, in a Julia sort of way,\" Abby informs him.\u003c/p>\n\u003cp>Julia, chuckling, then displays a different-but-fun way of playing tag, and everyone joins in. But when a siren wails, she covers her ears and looks stricken.\u003c/p>\n\u003cp>\"She needs to take a break,\" Big Bird's human friend Alan calmly explains. Soon, all is well and play resumes.\u003c/p>\n\u003cp>\"The 'Meet Julia' episode is something that I wish my son's friends had been able to see when they were small,\" says Gordon. \"I remember him having meltdowns and his classmates not understanding how to react.\"\u003c/p>\n\u003cp>Gordon says her son, now 13, isn't drawn to puppetry. \"He's more interested in math and science, and plays the piano brilliantly,\" she says with pride.\u003c/p>\n\u003cp>But she's having a blast being part of the show that helped hook her, as a child, on puppeteering.\u003c/p>\n\u003cp>\"It is so much fun to be on set with everyone, and get to play up all the positive things I've seen with the kids that I've worked with,\" Gordon says. \"At the same time, I come at this with a reverence. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With that, they skedaddle, an exit that calls for the six Muppeteers squatted out of sight below them to scramble accordingly. Joining her pals, Julia (performed by Stacey Gordon) takes off hunting.\u003c/p>\n\u003cp>For more than a year, Julia has existed in print and digital illustrations as the centerpiece of a multifaceted initiative by Sesame Workshop called \"Sesame Street and Autism: See Amazing in All Children.\"\u003c/p>\n\u003cp>She has been the subject of a storybook released along with videos, e-books, an app and website. The goal is to promote a better understanding of what the Autism Speaks advocacy group describes as \"a range of conditions characterized by challenges with social skills, repetitive behaviors, speech and nonverbal communication, as well as by unique strengths and differences.\"\u003c/p>\n\u003cp>But now Julia has been brought to life in fine Muppet fettle. She makes her TV debut on \"Sesame Street\" in the \"Meet Julia\" episode airing April 10 on both PBS and HBO. Additional videos featuring Julia will be available online.\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/M8QQRtA0hVA'\n title='//www.youtube.com/embed/M8QQRtA0hVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Developing Julia and all the other components of this campaign has required years of consultation with organizations, experts and families within the autism community, according to Jeanette Betancourt, Sesame Workshop's senior vice president of U.S. Social Impact.\u003c/p>\n\u003cp>\"In the U.S., one in 68 children is diagnosed with autism spectrum disorder,\" she says. \"We wanted to promote a better understanding and reduce the stigma often found around these children. We're modeling the way both children and adults can look at autism from a strength-based perspective: finding things that all children share.\"\u003c/p>\n\u003cp>Julia is at the heart of this effort. But while she represents the full range of children on the spectrum, she isn't meant to typify each one of them: \"Just as we look at all children as being unique, we should do the same thing when we're looking at children with autism,\" Betancourt says.\u003c/p>\n\u003cp>It was with keen interest that Stacey Gordon first learned of Julia more than a year ago. \"I said, 'If she's ever a puppet, I want to BE Julia!'\"\u003c/p>\n\u003cp>No wonder. 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"content": "\u003cp>Derek Walcott’s work explored the beauty of his Caribbean homeland and its brutal colonial history. The prolific, Nobel Prize-winning poet and playwright died Friday at his home in St. Lucia. He was 87.\u003c/p>\n\u003cp>Walcott wrote dozens of books of poetry and plays, among them his epic poem \u003ca href=\"http://www.npr.org/books/titles/511637767/omeros\" target=\"_blank\" rel=\"noopener\">Omeros\u003c/a> and his Obie-winning drama, \u003ca href=\"http://www.npr.org/books/titles/511656297/dream-on-monkey-mountain-and-other-plays\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream on Monkey Mountain.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>For most of his life, Walcott taught poetry at universities in the United States, England and Canada — but his work never strayed far from St. Lucia, the island in the West Indies where he was born.\u003c/p>\n\u003cp>In 1984, when he was teaching at Boston University, Walcott said that a book-length poem like \u003ca href=\"http://www.npr.org/books/titles/511606714/midsummer\" target=\"_blank\" rel=\"noopener\">Midsummer\u003c/a> was a natural extension of the language all around him.\u003c/p>\n\u003cp>“You would get some fantastic syntactical phenomena,” he said in an interview, “You would hear people talking in Barbados in the exact melody as a minor character in Shakespeare. Because here you have a thing that was not immured and preserved and mummified, but a voluble language, very active, very swift, very sharp. And that is going on still in all the languages of the Caribbean. So that you didn’t make yourself a poet — you entered a situation in which there was poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walcott’s father was a poet and a painter. He died when Derek was an infant. His mother was a school teacher who recited Shakespeare to him. He borrowed $200 to publish his first book of poetry when he was 19 and sold it on street corners. Then he attended the University College of the West Indies on a scholarship.\u003c/p>\n\u003cp>“When I went to college — when I read Shakespeare, or Dickens, or Scott I just felt that as a citizen of England, a British citizen, this was as much my heritage as any schoolboy’s,” he said. “That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.”\u003c/p>\n\u003cp>David Biespiel, a literary critic and author of a book on poetry called \u003cem>A Long High Whistle,\u003c/em> says Walcott represented “an elegant West Indies murmur against history’s violent colonial narrative of bondage.”\u003c/p>\n\u003cp>“His poems expose the discrepancy between blooming flowers and sparkling waters with these island economies built on the history of sugar plantations and slavery and forced labor,” Biespiel says. “It’s kind of grandeur mixed in with imprisonment.”\u003c/p>\n\u003cp>In all of his work, Walcott fused his classical education with the language and history of the Caribbean. The result, Biespiel says, was poetry of the highest order. “I think people will be reading Derek Walcott as long as we’ve been reading John Milton.”\u003c/p>\n\u003cp>Walcott said his energy to write came from being part of a generation of Caribbean writers who were the first to describe the world beyond their doorsteps.\u003c/p>\n\u003cp>“I go back to St. Lucia and the exhilaration I feel is not simply the exhilaration of homecoming and of nostalgia,” he said. “It is almost an irritation of feeling: \u003cem>Well, you never got it right. Now you have another chance. Maybe you can try and look harder.\u003c/em>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many would say Derek Walcott did get it right. \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=Derek+Walcott%2C+Who+Wrote+Of+Caribbean+Beauty+And+Bondage%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"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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"meta": {
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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"
}
},
"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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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"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": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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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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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"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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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"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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"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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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"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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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"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.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"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",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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