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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans and writers always tie singer and songwriter\u003cstrong> \u003c/strong>Hannah Lew’s dormant band to her current one and perhaps rightfully so; Grass Widow set the post-2010s post-punk scene on fire. But over the four years of its existence, San Francisco’s \u003ca href=\"http://www.npr.org/artists/514013187/cold-beat\">Cold Beat\u003c/a> has made simultaneously dynamic and atmospheric post-punk that plays to Lew’s songwriting acumen and surreal lyricism.\u003c/p>\n\u003cp>With the forthcoming \u003cem>Chaos By Invitation\u003c/em>, mostly recorded by Phil Manley (Trans Am) at El Studio, Lew and her band lean into their pop sensibilities more than ever, and bring a load of synths with them. “62 Moons” is the first single, a synth-pop song that swims in crystalline guitars a la Modern English, with a \u003ca href=\"https://en.wikipedia.org/wiki/Brill_Building_(genre)\" target=\"_blank\" rel=\"noopener\">Brill Building\u003c/a> romanticism. In its final minute, a wistful, whistling monosynth lead launches the track from Earth, as Lew exhales her “fade to black.”\u003c/p>\n\u003cp>Turns out space is the place for “62 Moons” — Lew says it’s “a song about love taken for granted, analogous to the 62 moons of Saturn, in constant loving orbit around a beautiful siren planet with many satellites.”\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/23PgtrBYOi8'\n title='//www.youtube.com/embed/23PgtrBYOi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Chaos By Invitation \u003c/em>comes out April 7 via \u003ca href=\"https://www.midheaven.com/label/crime-on-the-moon\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cold+Beat%27s+Dreamy+Synth-Pop+Song+%2762+Moons%27+Takes+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Comedian and actor Irwin Corey, for whom the word “however” was the perfect opening line, has died at age 102. With an impish grin and wild hair, Corey was a nightclub and talk-show fixture who worked with stars from Jackie Gleason to Woody Allen. His admirers ranged from Damon Runyon to Lenny Bruce.\u003c/p>\n\u003cp>Corey died Monday evening, his daughter-in-law tells NPR. The comedian had been sick earlier this year — but he’d been sent home from the hospital after seeming to recover. His last meal, she said, consisted of ice cream and egg drop soup.\u003c/p>\n\u003cp>It’s impossible to provide a short explanation of Corey’s surreal brand of comedy, which was most potent when delivered in his seemingly nonsensical stream of non sequiturs. But the breadth of his career hints at his creative genius: Who else could have appeared in the 1976 film \u003cem>Car Wash\u003c/em>, two years after \u003ca href=\"http://www.irwincorey.org/routines.html\" target=\"_blank\" rel=\"noopener\">accepting a National Book Award\u003c/a> on behalf of the reclusive Thomas Pynchon?\u003c/p>\n\u003cp>Billed as “the World’s Foremost Authority,” Corey’s guise as an absent-minded professor offered a way to poke fun at multisyllabic jargon and those who use it. When political or scientific authorities seemed to annex a chunk of language, there was Corey to claw it back — a very human antidote to our complicated modern times.\u003c/p>\n\u003cp>“Sometimes, I forget what I’m talking about in the middle of a word,” Corey \u003ca href=\"http://www.npr.org/2014/08/02/337320806/comedian-irwin-corey-turns-100\" target=\"_blank\" rel=\"noopener\">said at his 100th birthday party\u003c/a>, which was attended by WNYC contributor Jon Kalish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/513879165/513879302\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Corey mixed social commentary into his playful approach to language — as at his birthday party in 2014, when he said, “Ten years ago, we had Johnny Cash. We had Bob Hope and Steve Jobs. Today, 10 years later, there’s no cash. There’s no hope. There’s no jobs.”\u003c/p>\n\u003cp>Here’s how legendary theater critic Kenneth Tynan \u003ca href=\"http://www.irwincorey.org/bio.html\">once described\u003c/a> Corey: “a cultural clown, a parody of literacy, a travesty of all that our civilization holds dear and one of the funniest grotesques in America. He is Chaplin’s clown with a college education.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MxtN0xxzfsw\u003c/p>\n\u003cp>Born in Brooklyn, N.Y., in 1914, Corey and his brothers and sisters grew up in the Brooklyn Hebrew Orphan Asylum. After extreme poverty forced their mother to put her children in the home, \u003ca href=\"http://forward.com/news/203731/professor-irwin-corey-worlds-foremost-authority-go/\">she paid a monthly fee\u003c/a> to help provide for them.\u003c/p>\n\u003cp>Corey’s left-wing beliefs led to him being blacklisted in the 1950s. Decades later, he was found to be panhandling in a Manhattan street. He told \u003ca href=\"https://www.nytimes.com/video/nyregion/100000001099057/hes-97-and-famous-spare-some-change.html?src=vidm\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> that he donated all the money he collected to charity — often, to a cause that benefits children in Cuba.\u003c/p>\n\u003cp>As Corey explained, he was asking for change around the corner from his home, navigating East 35th Street with his walker, handing out free newspapers and, over the years, collecting tens of thousands of dollars.\u003c/p>\n\u003cp>When a reporter asked him why he hustled for change, he seemed confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why?” Corey repeated — and after a pause, he said, “I want to help people out.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+World%27s+Foremost+Authority+Has+Died%3A+Prof.+Irwin+Corey+Was+102&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and actor Irwin Corey, for whom the word “however” was the perfect opening line, has died at age 102. With an impish grin and wild hair, Corey was a nightclub and talk-show fixture who worked with stars from Jackie Gleason to Woody Allen. His admirers ranged from Damon Runyon to Lenny Bruce.\u003c/p>\n\u003cp>Corey died Monday evening, his daughter-in-law tells NPR. The comedian had been sick earlier this year — but he’d been sent home from the hospital after seeming to recover. His last meal, she said, consisted of ice cream and egg drop soup.\u003c/p>\n\u003cp>It’s impossible to provide a short explanation of Corey’s surreal brand of comedy, which was most potent when delivered in his seemingly nonsensical stream of non sequiturs. But the breadth of his career hints at his creative genius: Who else could have appeared in the 1976 film \u003cem>Car Wash\u003c/em>, two years after \u003ca href=\"http://www.irwincorey.org/routines.html\" target=\"_blank\" rel=\"noopener\">accepting a National Book Award\u003c/a> on behalf of the reclusive Thomas Pynchon?\u003c/p>\n\u003cp>Billed as “the World’s Foremost Authority,” Corey’s guise as an absent-minded professor offered a way to poke fun at multisyllabic jargon and those who use it. When political or scientific authorities seemed to annex a chunk of language, there was Corey to claw it back — a very human antidote to our complicated modern times.\u003c/p>\n\u003cp>“Sometimes, I forget what I’m talking about in the middle of a word,” Corey \u003ca href=\"http://www.npr.org/2014/08/02/337320806/comedian-irwin-corey-turns-100\" target=\"_blank\" rel=\"noopener\">said at his 100th birthday party\u003c/a>, which was attended by WNYC contributor Jon Kalish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/513879165/513879302\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Corey mixed social commentary into his playful approach to language — as at his birthday party in 2014, when he said, “Ten years ago, we had Johnny Cash. We had Bob Hope and Steve Jobs. Today, 10 years later, there’s no cash. There’s no hope. There’s no jobs.”\u003c/p>\n\u003cp>Here’s how legendary theater critic Kenneth Tynan \u003ca href=\"http://www.irwincorey.org/bio.html\">once described\u003c/a> Corey: “a cultural clown, a parody of literacy, a travesty of all that our civilization holds dear and one of the funniest grotesques in America. He is Chaplin’s clown with a college education.”\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/MxtN0xxzfsw'\n title='//www.youtube.com/embed/MxtN0xxzfsw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in Brooklyn, N.Y., in 1914, Corey and his brothers and sisters grew up in the Brooklyn Hebrew Orphan Asylum. After extreme poverty forced their mother to put her children in the home, \u003ca href=\"http://forward.com/news/203731/professor-irwin-corey-worlds-foremost-authority-go/\">she paid a monthly fee\u003c/a> to help provide for them.\u003c/p>\n\u003cp>Corey’s left-wing beliefs led to him being blacklisted in the 1950s. Decades later, he was found to be panhandling in a Manhattan street. He told \u003ca href=\"https://www.nytimes.com/video/nyregion/100000001099057/hes-97-and-famous-spare-some-change.html?src=vidm\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> that he donated all the money he collected to charity — often, to a cause that benefits children in Cuba.\u003c/p>\n\u003cp>As Corey explained, he was asking for change around the corner from his home, navigating East 35th Street with his walker, handing out free newspapers and, over the years, collecting tens of thousands of dollars.\u003c/p>\n\u003cp>When a reporter asked him why he hustled for change, he seemed confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why?” Corey repeated — and after a pause, he said, “I want to help people out.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+World%27s+Foremost+Authority+Has+Died%3A+Prof.+Irwin+Corey+Was+102&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "James Baldwin, In His Own Searing, Revelatory Words: 'I Am Not Your Negro'",
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"content": "\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\u003c/p>\n\u003cp>https://youtu.be/rNUYdgIyaPM\u003c/p>\n\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\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/rNUYdgIyaPM'\n title='//www.youtube.com/embed/rNUYdgIyaPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Iranian writer-director Asghar Farhadi’s impeccable \u003cem>A Separation\u003c/em>, emotional devastation results from minor misunderstandings, caused largely by class divides and religious differences. The subtle contrivances of that 2011 film became more overt in its follow-up, \u003cem>The Past\u003c/em>. Now Farhadi has made a drama that billboards its theatricality, opening on the vacant set for a Tehran production of \u003cem>Death of a Salesman\u003c/em>. The parallels with that Arthur Miller play that arise over the course of the film are one reason Farhadi titled it \u003cem>The Salesman\u003c/em>.\u003c/p>\n\u003cp>Rehearsing to play Willie and Linda Loman are another married couple, Emad and Rana (Shahab Hosseini and Taraneh Alidoosti, both exemplary). Emad teaches literature and film to high school boys, which allows Farhadi to include a bit of \u003cem>The Cow\u003c/em>, the 1969 movie considered the first of the Iranian new wave.\u003c/p>\n\u003cp>As the play’s premiere looms, a certain amount of backstage uproar is to be expected. Censors may trim some of Miller’s text, and an actress complains about having to be fully covered while playing a scene in which her character says she’s half-dressed. But such disorder is insignificant compared to the chaos that rattles the lead actors’ offstage life.\u003c/p>\n\u003cp>https://youtu.be/WlKN5PBVLN8\u003c/p>\n\u003cp>Emad and Rana must suddenly flee their apartment after construction on a neighboring site threatens to collapse the building. Walls crack and windows break in a visceral scene that’s also a metaphor for an upcoming disruption of domestic tranquility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A theater colleague finds the actors a replacement flat, but with it comes a different sort of discord. One room is full of the previous tenant’s belongings, which she can’t remove until she rents a new place. That’s difficult, for the same reason she was forced from her old one: She’s “a woman with a lot of acquaintances.”\u003c/p>\n\u003cp>Not all her clients know she’s moved. One regular arrives and while heading to the shower Rana buzzes him in, thinking it’s her husband. What happens next occurs off-camera, but is not insignificant. Rana ends up unconscious, her head bloodied. (From an Iranian filmmaker’s perspective, this is a boon: Rana’s bandage takes the place of the headscarf that film censors require, but that an Iranian woman wouldn’t necessarily wear at home.)\u003c/p>\n\u003cp>Since the incident could be interpreted as related to sex, Rana doesn’t want to inform the police. Emad understands, but feels compelled to avenge his wife and assuage his pride. (Perhaps playing an American onstage has made the actor see himself as something of a cowboy.) In his haste to escape, the interloper left behind some personal items. Emad finds the clues, and his career as an amateur detective is underway.\u003c/p>\n\u003cp>As in \u003cem>A Separation\u003c/em>, a central motif is miscommunication. Mobile phones and an answering machine play roles, and Rana’s innocent response to an apparently benign (if illicit) visitor snowballs into catastrophe. The apartment’s former tenant, never seen or heard, is not presented as a monster. Neither, ultimately, is the shadowy man Emad pursues.\u003c/p>\n\u003cp>These nuanced characterizations are worthy of the director of \u003cem>A Separation\u003c/em>, which painstakingly demonstrated that everyone has his or her reasons. Although \u003cem>The Salesman\u003c/em>‘s plot is unbelievable, most of the movie occurs in a recognizably genuine world: dirty and battered, but bedeviled by compromise and self-interest, not pure evil. The links between Miller’s Pulitzer-winning melodramatics and Farhadi’s more naturalistic style are not overdone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until the last act, that is. \u003cem>The Salesman\u003c/em> would be a much better movie if it ended a few minutes sooner. Instead, grudging reconciliation yields to sort of retribution, brutal if inadvertent. The curtain falls on everyday life, and the author’s hand becomes manifest. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Salesman%27%3A+A+Violent+Act+Tests+A+Marriage%2C+And+One+Actor%27s+Humanity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A theater colleague finds the actors a replacement flat, but with it comes a different sort of discord. One room is full of the previous tenant’s belongings, which she can’t remove until she rents a new place. That’s difficult, for the same reason she was forced from her old one: She’s “a woman with a lot of acquaintances.”\u003c/p>\n\u003cp>Not all her clients know she’s moved. One regular arrives and while heading to the shower Rana buzzes him in, thinking it’s her husband. What happens next occurs off-camera, but is not insignificant. Rana ends up unconscious, her head bloodied. (From an Iranian filmmaker’s perspective, this is a boon: Rana’s bandage takes the place of the headscarf that film censors require, but that an Iranian woman wouldn’t necessarily wear at home.)\u003c/p>\n\u003cp>Since the incident could be interpreted as related to sex, Rana doesn’t want to inform the police. Emad understands, but feels compelled to avenge his wife and assuage his pride. (Perhaps playing an American onstage has made the actor see himself as something of a cowboy.) In his haste to escape, the interloper left behind some personal items. Emad finds the clues, and his career as an amateur detective is underway.\u003c/p>\n\u003cp>As in \u003cem>A Separation\u003c/em>, a central motif is miscommunication. Mobile phones and an answering machine play roles, and Rana’s innocent response to an apparently benign (if illicit) visitor snowballs into catastrophe. The apartment’s former tenant, never seen or heard, is not presented as a monster. Neither, ultimately, is the shadowy man Emad pursues.\u003c/p>\n\u003cp>These nuanced characterizations are worthy of the director of \u003cem>A Separation\u003c/em>, which painstakingly demonstrated that everyone has his or her reasons. Although \u003cem>The Salesman\u003c/em>‘s plot is unbelievable, most of the movie occurs in a recognizably genuine world: dirty and battered, but bedeviled by compromise and self-interest, not pure evil. The links between Miller’s Pulitzer-winning melodramatics and Farhadi’s more naturalistic style are not overdone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until the last act, that is. \u003cem>The Salesman\u003c/em> would be a much better movie if it ended a few minutes sooner. Instead, grudging reconciliation yields to sort of retribution, brutal if inadvertent. The curtain falls on everyday life, and the author’s hand becomes manifest. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Salesman%27%3A+A+Violent+Act+Tests+A+Marriage%2C+And+One+Actor%27s+Humanity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Breaking News' Artists use Mass Media as their Medium",
"headTitle": "‘Breaking News’ Artists use Mass Media as their Medium | KQED",
"content": "\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Set on an apparently tropical island, \u003cem>The Red Turtle\u003c/em> (La tortue rouge) exalts the cycle of life and celebrates the beauty of nature. Yet this dialogue-free animated fable could hardly be more anthropocentric.\u003c/p>\n\u003cp>The man around whom the film revolves is introduced literally at sea, battling to survive the stormy waves of a slate-colored ocean. The sketchily drawn, button-eyed survivor soon washes up on a remote isle. It’s inhabited mostly by insects and crustaceans — the sand crabs provide low-key comic relief — although sometimes a larger creature comes ashore.\u003c/p>\n\u003cp>https://youtu.be/4lwrzNqEUOM\u003c/p>\n\u003cp>Water and food are available, and shelter is not an issue, since the climate is warm. Nonetheless, the castaway endeavors to leave, building a succession of rafts that are quickly destroyed by an unseen force. Eventually, the man encounters the creature that’s preventing his escape. It’s a gigantic red turtle.\u003c/p>\n\u003cp>Soon after, somehow, a woman appears. The pretty redhead’s arrival reconciles the exile to remaining on the island, and the couple raises a son. The trio’s existence is the human family in microcosm, without any pesky siblings or in-laws. It could be said, though, that the sea turtles that offer assistance during emergencies are cousins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>London-based Dutch animator Michael Dudok de Wit spent a decade making \u003cem>The Red Turtle\u003c/em>, which is hand-drawn (mostly on electronic tablets, not paper ones). It’s the first feature from a filmmaker who won an Oscar 17 years ago for \u003cem>Father and Daughter\u003c/em>, a short that was also without words.\u003c/p>\n\u003cp>Dudok de Wit was recruited and mentored by Isao Takahata, of Japan’s Studio Ghibli, which is best known for such tales of nature and transformation as \u003cem>Spirited Away\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. The Franco-Japanese collaboration’s supervising animator is Jean-Christophe Lie, who worked on T\u003cem>he Triplets of Belleville\u003c/em>.\u003c/p>\n\u003cp>The Japanese influence is apparent in both the movie’s look and its story. The script, by Dudok de Wit and \u003cem>Bird People\u003c/em> writer-director Pascale Ferran, features a bamboo forest and a catastrophic tsunami. The latter is one of several sequences that’s suspenseful enough for a big-budget action movie. (Alas, Laurent Perez del Mar’s drippy score also gives off a major-studio vibe.)\u003c/p>\n\u003cp>For a wordless South Seas idyll, the movie is quite eventful. Panicky moments and angry outbursts contrast the leisurely pace of island life and the artfully rendered sea and sky. The animators don’t overplay the loveliness, preferring subdued colors punctuated by the occasional vivid blue. Red rarely appears, and the many dream sequences are as gray as the night from which they emerge.\u003c/p>\n\u003cp>Unless, of course, the entire movie is a dream. After all, things occur here that would be impossible in a non-animated cosmos. But if \u003cem>The Red Turtle\u003c/em> is a fantasy, it’s not one in which man achieves concord with nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, after initially frustrating the castaway, the sea, the island, and their creatures accommodate themselves to him. Although viewers barely get to know the man, they can clearly see he’s the center of this hand-drawn universe. That seems a curious outlook for movie that’s being released just as climate scientists report that 2016 was the third year in a row to be the hottest ever recorded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Set on an apparently tropical island, \u003cem>The Red Turtle\u003c/em> (La tortue rouge) exalts the cycle of life and celebrates the beauty of nature. Yet this dialogue-free animated fable could hardly be more anthropocentric.\u003c/p>\n\u003cp>The man around whom the film revolves is introduced literally at sea, battling to survive the stormy waves of a slate-colored ocean. The sketchily drawn, button-eyed survivor soon washes up on a remote isle. It’s inhabited mostly by insects and crustaceans — the sand crabs provide low-key comic relief — although sometimes a larger creature comes ashore.\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/4lwrzNqEUOM'\n title='//www.youtube.com/embed/4lwrzNqEUOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Water and food are available, and shelter is not an issue, since the climate is warm. Nonetheless, the castaway endeavors to leave, building a succession of rafts that are quickly destroyed by an unseen force. Eventually, the man encounters the creature that’s preventing his escape. It’s a gigantic red turtle.\u003c/p>\n\u003cp>Soon after, somehow, a woman appears. The pretty redhead’s arrival reconciles the exile to remaining on the island, and the couple raises a son. The trio’s existence is the human family in microcosm, without any pesky siblings or in-laws. It could be said, though, that the sea turtles that offer assistance during emergencies are cousins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>London-based Dutch animator Michael Dudok de Wit spent a decade making \u003cem>The Red Turtle\u003c/em>, which is hand-drawn (mostly on electronic tablets, not paper ones). It’s the first feature from a filmmaker who won an Oscar 17 years ago for \u003cem>Father and Daughter\u003c/em>, a short that was also without words.\u003c/p>\n\u003cp>Dudok de Wit was recruited and mentored by Isao Takahata, of Japan’s Studio Ghibli, which is best known for such tales of nature and transformation as \u003cem>Spirited Away\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. The Franco-Japanese collaboration’s supervising animator is Jean-Christophe Lie, who worked on T\u003cem>he Triplets of Belleville\u003c/em>.\u003c/p>\n\u003cp>The Japanese influence is apparent in both the movie’s look and its story. The script, by Dudok de Wit and \u003cem>Bird People\u003c/em> writer-director Pascale Ferran, features a bamboo forest and a catastrophic tsunami. The latter is one of several sequences that’s suspenseful enough for a big-budget action movie. (Alas, Laurent Perez del Mar’s drippy score also gives off a major-studio vibe.)\u003c/p>\n\u003cp>For a wordless South Seas idyll, the movie is quite eventful. Panicky moments and angry outbursts contrast the leisurely pace of island life and the artfully rendered sea and sky. The animators don’t overplay the loveliness, preferring subdued colors punctuated by the occasional vivid blue. Red rarely appears, and the many dream sequences are as gray as the night from which they emerge.\u003c/p>\n\u003cp>Unless, of course, the entire movie is a dream. After all, things occur here that would be impossible in a non-animated cosmos. But if \u003cem>The Red Turtle\u003c/em> is a fantasy, it’s not one in which man achieves concord with nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, after initially frustrating the castaway, the sea, the island, and their creatures accommodate themselves to him. Although viewers barely get to know the man, they can clearly see he’s the center of this hand-drawn universe. That seems a curious outlook for movie that’s being released just as climate scientists report that 2016 was the third year in a row to be the hottest ever recorded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "after-trumps-election-a-nonpracticing-muslim-returns-to-prayer",
"title": "After Trump's Election, a Nonpracticing Muslim Returns to Prayer",
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"content": "\u003cp>When I was a kid, Mom used to say, “You know you’ve become an infidel when you forget the \u003cem>Fatihah.\u003c/em>” The \u003cem>Fatihah\u003c/em> is the preamble to the Quran, a prayer Muslims repeat five times a day.\u003c/p>\n\u003cp>Mom used to warn me to be grateful for the practice. That on the Day of Judgment, Allah would call upon me to recite the \u003cem>Fatihah\u003c/em> and I would realize that I had forgotten the words and know what it means to be a lost soul.\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>While other kids went to soccer practice on the weekends, I went to a religious Farsi school, where prayer was homework and I heard the \u003cem>Fatihah\u003c/em> all the time. They would check to see that I was praying correctly, and that I was emphasizing the right “qh” and “ha” sounds, and performing the correct poses and postures.\u003c/p>\n\u003cp>Dad paid particularly close attention to my religious education. “Don’t say ‘God,’ ” he would order, if I was being flip. “When people say ‘God’ they’re thinking of a man god, and that’s as bad as idolatry. We shouldn’t turn people into gods. Say, ‘Allah!’ Allah is the everything in the universe!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But a girl can block out only so much cultural influence. Even my Quran used the pronoun “He” when it translated the Arabic words into English. And, when I imagined Allah, he always took the form of my dad, usually in the clouds, or he looked like some version of Santa.\u003c/p>\n\u003cfigure id=\"attachment_12644942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg\" alt=\"Zahra Noorbakhsh will be touring her comedy special, On Behalf of All Muslims, in the spring of 2017. She is the co-host of the podcast 'Good Muslim, Bad Muslim.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12644942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbakhsh will be touring her comedy special, \u003cem>On Behalf of All Muslims,\u003c/em> in the spring of 2017. She is the co-host of the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Les Talusan/tk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, at 12 years old, my preteen impatience hit. Prayer was homework that I had to do five times a day?! I wanted to go out and play. I used to love sitting down to lessons with Dad, but now I couldn’t wait for him to stop talking so I could turn the TV back on.\u003c/p>\n\u003cp>Dad would scold me about rushing through homework, and when that was done he’d scold me for rushing through prayers. In silent protest, I’d sit on my prayer rug and daydream, trying to think of anything but Dad in my head telling me that everything I was doing wasn’t good enough.\u003c/p>\n\u003cp>When Dad realized I was lying about finishing my prayers, I braced myself for a stern lecture. Instead, he told me, “that is between you and Allah.”\u003c/p>\n\u003cp>When I was in college, Dad saw me in a YouTube clip joking about being a pork-eating kind of Muslim; he grimaced and said, “Never put your leftovers in my fridge.”\u003c/p>\n\u003cp>Despite other people’s perceptions of what should or should not be in contradiction with my Muslim identity, I never experienced that discord within myself. But I do get a little sad when anyone asks me if I pray. Truthfully, I just never saw the point of it. I couldn’t connect with the scripture and its archaic English translations. It wasn’t until recently, when I found myself in a mindfulness training class, that I sat for what felt like … prayer.\u003c/p>\n\u003cp>I took the class with a couple of friends, hoping that it would help me manage stress and improve my communication with co-workers. My friends and I carpooled there every Sunday night and learned about mantras, those mental scripts that can be used to protect your brain from itself. Words to recite in the times we feel impatient, to slow life down and remind ourselves that we don’t have control of everything.\u003c/p>\n\u003cfigure id=\"attachment_12294912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg\" alt='Comedian Zahra Noorbakhsh, who says \"Comedy is truth and pain. And there’s a lot of pain in politics this year.\"' width=\"800\" height=\"458\" class=\"size-medium wp-image-12294912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743.jpg 1761w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbakhsh, who says “Comedy is truth and pain. And there’s a lot of pain in politics this year.” \u003ccite>(Photo: Courtesy of Zahra Noorbaksh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The practice helped. I left every class feeling calmer and more resolute. But at the same time, I found myself annoyed. The teacher kept telling us how wonderfully secular the program was, but I kept thinking about what it really meant: it had taken a religion — Buddhism — stripped it of its complex cultural ties and painful political history, appropriated it, commodified it and put it on T-shirts, mugs and calendars, served back to us in easy “secular” doses.\u003c/p>\n\u003cp>And then the election happened.\u003c/p>\n\u003cp>When people asked me if I thought the Trump administration would keep its promises to register Muslims, I could feel my rib cage constrict with worry, and without thinking I reached for the \u003cem>Fatihah.\u003c/em> The words of comfort Dad taught me as a kid, and I couldn’t find them and I remembered Mom’s warning. I felt what it was like to be a lost soul.\u003c/p>\n\u003cp>I don’t believe in hell. I don’t believe in being condemned. I don’t see myself as an infidel, but I do see myself as unmoored. I have this feeling of not being connected to my bones.\u003c/p>\n\u003cp>When I needed it most, I reached for the words of the faith that I was raised with: that the universe is unified by a force of compassion. And I looked everywhere in the attic of my mind to find those words. Looking further and further back into memories of practicing prayer with my father before my preteen cool set in, and before years of being the “pork-eating, alcohol-drinking,” kind of Muslim had left me untethered. I closed my eyes, desperate to remember those words of comfort, and they weren’t there.\u003c/p>\n\u003cp>When I heard that Donald Trump was our next president, it was the first time in my life that I understood what prayer was for.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is what I told my father. Then I asked him to teach me how to pray, again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Trump%27s+Election%2C+A+Nonpracticing+Muslim+Returns+To+Prayer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a kid, Mom used to say, “You know you’ve become an infidel when you forget the \u003cem>Fatihah.\u003c/em>” The \u003cem>Fatihah\u003c/em> is the preamble to the Quran, a prayer Muslims repeat five times a day.\u003c/p>\n\u003cp>Mom used to warn me to be grateful for the practice. That on the Day of Judgment, Allah would call upon me to recite the \u003cem>Fatihah\u003c/em> and I would realize that I had forgotten the words and know what it means to be a lost soul.\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>While other kids went to soccer practice on the weekends, I went to a religious Farsi school, where prayer was homework and I heard the \u003cem>Fatihah\u003c/em> all the time. They would check to see that I was praying correctly, and that I was emphasizing the right “qh” and “ha” sounds, and performing the correct poses and postures.\u003c/p>\n\u003cp>Dad paid particularly close attention to my religious education. “Don’t say ‘God,’ ” he would order, if I was being flip. “When people say ‘God’ they’re thinking of a man god, and that’s as bad as idolatry. We shouldn’t turn people into gods. Say, ‘Allah!’ Allah is the everything in the universe!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But a girl can block out only so much cultural influence. Even my Quran used the pronoun “He” when it translated the Arabic words into English. And, when I imagined Allah, he always took the form of my dad, usually in the clouds, or he looked like some version of Santa.\u003c/p>\n\u003cfigure id=\"attachment_12644942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg\" alt=\"Zahra Noorbakhsh will be touring her comedy special, On Behalf of All Muslims, in the spring of 2017. She is the co-host of the podcast 'Good Muslim, Bad Muslim.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12644942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/zahra-headshot-by-les-talusan_smiling-308f06fd4f0e66dcbeedd93793470a973c8b1fa3.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbakhsh will be touring her comedy special, \u003cem>On Behalf of All Muslims,\u003c/em> in the spring of 2017. She is the co-host of the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Les Talusan/tk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, at 12 years old, my preteen impatience hit. Prayer was homework that I had to do five times a day?! I wanted to go out and play. I used to love sitting down to lessons with Dad, but now I couldn’t wait for him to stop talking so I could turn the TV back on.\u003c/p>\n\u003cp>Dad would scold me about rushing through homework, and when that was done he’d scold me for rushing through prayers. In silent protest, I’d sit on my prayer rug and daydream, trying to think of anything but Dad in my head telling me that everything I was doing wasn’t good enough.\u003c/p>\n\u003cp>When Dad realized I was lying about finishing my prayers, I braced myself for a stern lecture. Instead, he told me, “that is between you and Allah.”\u003c/p>\n\u003cp>When I was in college, Dad saw me in a YouTube clip joking about being a pork-eating kind of Muslim; he grimaced and said, “Never put your leftovers in my fridge.”\u003c/p>\n\u003cp>Despite other people’s perceptions of what should or should not be in contradiction with my Muslim identity, I never experienced that discord within myself. But I do get a little sad when anyone asks me if I pray. Truthfully, I just never saw the point of it. I couldn’t connect with the scripture and its archaic English translations. It wasn’t until recently, when I found myself in a mindfulness training class, that I sat for what felt like … prayer.\u003c/p>\n\u003cp>I took the class with a couple of friends, hoping that it would help me manage stress and improve my communication with co-workers. My friends and I carpooled there every Sunday night and learned about mantras, those mental scripts that can be used to protect your brain from itself. Words to recite in the times we feel impatient, to slow life down and remind ourselves that we don’t have control of everything.\u003c/p>\n\u003cfigure id=\"attachment_12294912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg\" alt='Comedian Zahra Noorbakhsh, who says \"Comedy is truth and pain. And there’s a lot of pain in politics this year.\"' width=\"800\" height=\"458\" class=\"size-medium wp-image-12294912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbakhsh-cover-photo-e1478196508743.jpg 1761w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbakhsh, who says “Comedy is truth and pain. And there’s a lot of pain in politics this year.” \u003ccite>(Photo: Courtesy of Zahra Noorbaksh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The practice helped. I left every class feeling calmer and more resolute. But at the same time, I found myself annoyed. The teacher kept telling us how wonderfully secular the program was, but I kept thinking about what it really meant: it had taken a religion — Buddhism — stripped it of its complex cultural ties and painful political history, appropriated it, commodified it and put it on T-shirts, mugs and calendars, served back to us in easy “secular” doses.\u003c/p>\n\u003cp>And then the election happened.\u003c/p>\n\u003cp>When people asked me if I thought the Trump administration would keep its promises to register Muslims, I could feel my rib cage constrict with worry, and without thinking I reached for the \u003cem>Fatihah.\u003c/em> The words of comfort Dad taught me as a kid, and I couldn’t find them and I remembered Mom’s warning. I felt what it was like to be a lost soul.\u003c/p>\n\u003cp>I don’t believe in hell. I don’t believe in being condemned. I don’t see myself as an infidel, but I do see myself as unmoored. I have this feeling of not being connected to my bones.\u003c/p>\n\u003cp>When I needed it most, I reached for the words of the faith that I was raised with: that the universe is unified by a force of compassion. And I looked everywhere in the attic of my mind to find those words. Looking further and further back into memories of practicing prayer with my father before my preteen cool set in, and before years of being the “pork-eating, alcohol-drinking,” kind of Muslim had left me untethered. I closed my eyes, desperate to remember those words of comfort, and they weren’t there.\u003c/p>\n\u003cp>When I heard that Donald Trump was our next president, it was the first time in my life that I understood what prayer was for.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is what I told my father. Then I asked him to teach me how to pray, again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Trump%27s+Election%2C+A+Nonpracticing+Muslim+Returns+To+Prayer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Dad Joke is a funny thing. Well, not funny, exactly — that’s the one thing a Dad Joke never is. Whether a dumb pun, a goofy accent, or a silly riff on a troubling event, this peculiar brand of attempted humor is passed on from a father to his offspring like family silverware. It exists to remind us that dads have a sacred duty to be silly and strange for their children’s sake, to create a little shared universe of forced laughter and groans where both generations can retreat from the cold.\u003c/p>\n\u003cp>The remarkable new German-Austrian comedy \u003cem>Toni Erdmann\u003c/em> is the \u003cem>Citizen Kane\u003c/em> of Dad Jokes. Writer-director Maren Ade liberates these laffy-taffies into the world of high art. She builds her story around a father who will go to absurd, inscrutable lengths for a laugh, even though he rarely ever gets one. He makes liberal use of props, among them whoopee cushions, cheese graters, handcuffs, shaggy wigs, and one immortal set of giant false teeth, which he keeps in his shirt pocket and pops into his mouth at the slightest moment of tension. He will gladly wait half a day to spring a two-second “gotcha” gag. And over the film’s nearly three-hour running time, he does battle with the humorless corporate world that has swallowed his daughter whole and is threatening to come for us all.\u003c/p>\n\u003cp>https://youtu.be/j0uwi5EPnpA\u003c/p>\n\u003cp>At the outset, it certainly seems like corporate is winning. When we first meet Winfried (Peter Simonischek), a retired music teacher, he lives alone with a pacemaker and a sickly dog, crafting elaborate fictions for a package courier just to amuse himself. He once was close with his daughter, Ines (Sandra Hüller), but she’s all grown up and distant now, working for a consulting firm whose job is to tell companies they should lay off workers to save money. Ines does well, but she’s miserable: constantly undermined by her male superiors, she resorts to drugs and empty sex to amuse herself, and disappears into her work so she doesn’t have to think about how far she’s drifted from her own soul.\u003c/p>\n\u003cp>Once his dog dies, Winfried makes a spontaneous visit to Ines’s office in Bucharest, prattling on about the importance of fun and happiness in life. The weekend soon turns toxic, overtaken by Ines’s work functions and her seeming inability to recall anything that makes her happy. “I know men your age with ambitions,” she seethes at him. A saddened poppa takes his leave… but then out comes the wig and false teeth, and voilà, “Toni Erdmann” is showing up at her office and social gatherings with a different kind of ambition: to wreak havoc.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Toni is not here for your empty pleasantries. This “business consultant and life coach” barrels into rooms with the force of an ox, will ramble on for 30 minutes about turtles, and, perhaps because he is a man with absurd confidence, he’ll be taken seriously every step of the way. Before Ines can blink, she finds herself playing along with Toni’s games, roping him into elaborate business plans and dragging the pair to one-up each other with each new absurdity, be it a spontaneous burst of song or the most scandalous birthday brunch of all time.\u003c/p>\n\u003cfigure id=\"attachment_12640683\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni2.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup plays like a descendant of American comedies — think \u003cem>Mrs. Doubtfire\u003c/em> crossed with the anarchic spirit of Andy Kaufman (whom Ade has credited as an influence). But the execution is far more emotionally textured, an example of an offspring learning the right lessons from its parents. The first time you watch \u003cem>Toni Erdmann\u003c/em>, you see the film from Ines’s eyes: at first befuddled and angered by her dad’s bizarre behavior, until she realizes it may be lifting her out of the darkness. (When she’s forced to drag Toni to her client’s oil field, she uses him as business leverage.) If you’re ever fortunate enough to watch the film a second time, you’ll see it equally as Winfried’s story: a final, desperate act of love, with an undercurrent of selfishness and sabotage. And no matter which way you read it, the whoopee cushion will still be funny, obviously.\u003c/p>\n\u003cp>If this were merely “uptight young woman learns to loosen up,” \u003cem>Toni Erdmann\u003c/em> wouldn’t feel so revolutionary. But the film takes its corporate setting seriously, and wields a savage critique of modern globalization culture and the way we sacrifice our shared humanity to survive in it. Sly, devastating shots reveal that Romania’s business class has built itself on the backs of the poor. Searching for advice on how to get ahead at work, Ines is told to stop listening to other people. She’s forced to leverage every social gathering for transactional benefit, while her client — a prosperous American oil CEO looking to “cut costs” — belittles her in public to avoid admitting he has to take her advice. In the face of such direct exposure to how the world really works, Toni’s version of reality offers an escape hatch. Wouldn’t it be nice, for once, to throw away ambitions and live inside a joke?\u003c/p>\n\u003cfigure id=\"attachment_12640682\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni1.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her third film, Ade could not have constructed her story any finer. Every beat is calibrated, not only for the punchlines but also the long, awkward pauses that absorb Toni’s extraterrestrial weirdness into the earth. But Ade’s work would be for nothing without her two dueling leads. Simonischek is the showier role, always putting on two or three layers of performance: as the blustery Toni he often stumbles while improvising his web of lies, and is quick to backtrack with the constant refrain, “It’s just a joke.” Hüller, meanwhile, is a portrait of slow-burning tragedy, and her bitterness comes with a specific exhaustion at a lifetime being the butt of other people’s jokes. There is one devastating scene in a club where Ines, slumped into a couch riding a line of cocaine, is essentially daring her father to look away from her lifestyle, even as she calls out subconsciously to him for help.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Toni Erdmann\u003c/em> is silly yet profoundly moving, a movie that speaks to the human disconnect of our time. We are born into our parents, not our jobs, and yet in adulthood we essentially choose a new set of life lessons over the ones they instilled in us. Can the power of the Dad Joke help us rediscover our old, shared universe in time? “Don’t lose the humor,” Toni solemnly instructs at one point, to a Romanian stranger who doesn’t speak his language. It’s one of the only moments when he’s completely serious.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Dad Joke is a funny thing. Well, not funny, exactly — that’s the one thing a Dad Joke never is. Whether a dumb pun, a goofy accent, or a silly riff on a troubling event, this peculiar brand of attempted humor is passed on from a father to his offspring like family silverware. It exists to remind us that dads have a sacred duty to be silly and strange for their children’s sake, to create a little shared universe of forced laughter and groans where both generations can retreat from the cold.\u003c/p>\n\u003cp>The remarkable new German-Austrian comedy \u003cem>Toni Erdmann\u003c/em> is the \u003cem>Citizen Kane\u003c/em> of Dad Jokes. Writer-director Maren Ade liberates these laffy-taffies into the world of high art. She builds her story around a father who will go to absurd, inscrutable lengths for a laugh, even though he rarely ever gets one. He makes liberal use of props, among them whoopee cushions, cheese graters, handcuffs, shaggy wigs, and one immortal set of giant false teeth, which he keeps in his shirt pocket and pops into his mouth at the slightest moment of tension. He will gladly wait half a day to spring a two-second “gotcha” gag. And over the film’s nearly three-hour running time, he does battle with the humorless corporate world that has swallowed his daughter whole and is threatening to come for us all.\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/j0uwi5EPnpA'\n title='//www.youtube.com/embed/j0uwi5EPnpA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the outset, it certainly seems like corporate is winning. When we first meet Winfried (Peter Simonischek), a retired music teacher, he lives alone with a pacemaker and a sickly dog, crafting elaborate fictions for a package courier just to amuse himself. He once was close with his daughter, Ines (Sandra Hüller), but she’s all grown up and distant now, working for a consulting firm whose job is to tell companies they should lay off workers to save money. Ines does well, but she’s miserable: constantly undermined by her male superiors, she resorts to drugs and empty sex to amuse herself, and disappears into her work so she doesn’t have to think about how far she’s drifted from her own soul.\u003c/p>\n\u003cp>Once his dog dies, Winfried makes a spontaneous visit to Ines’s office in Bucharest, prattling on about the importance of fun and happiness in life. The weekend soon turns toxic, overtaken by Ines’s work functions and her seeming inability to recall anything that makes her happy. “I know men your age with ambitions,” she seethes at him. A saddened poppa takes his leave… but then out comes the wig and false teeth, and voilà, “Toni Erdmann” is showing up at her office and social gatherings with a different kind of ambition: to wreak havoc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Toni is not here for your empty pleasantries. This “business consultant and life coach” barrels into rooms with the force of an ox, will ramble on for 30 minutes about turtles, and, perhaps because he is a man with absurd confidence, he’ll be taken seriously every step of the way. Before Ines can blink, she finds herself playing along with Toni’s games, roping him into elaborate business plans and dragging the pair to one-up each other with each new absurdity, be it a spontaneous burst of song or the most scandalous birthday brunch of all time.\u003c/p>\n\u003cfigure id=\"attachment_12640683\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni2.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup plays like a descendant of American comedies — think \u003cem>Mrs. Doubtfire\u003c/em> crossed with the anarchic spirit of Andy Kaufman (whom Ade has credited as an influence). But the execution is far more emotionally textured, an example of an offspring learning the right lessons from its parents. The first time you watch \u003cem>Toni Erdmann\u003c/em>, you see the film from Ines’s eyes: at first befuddled and angered by her dad’s bizarre behavior, until she realizes it may be lifting her out of the darkness. (When she’s forced to drag Toni to her client’s oil field, she uses him as business leverage.) If you’re ever fortunate enough to watch the film a second time, you’ll see it equally as Winfried’s story: a final, desperate act of love, with an undercurrent of selfishness and sabotage. And no matter which way you read it, the whoopee cushion will still be funny, obviously.\u003c/p>\n\u003cp>If this were merely “uptight young woman learns to loosen up,” \u003cem>Toni Erdmann\u003c/em> wouldn’t feel so revolutionary. But the film takes its corporate setting seriously, and wields a savage critique of modern globalization culture and the way we sacrifice our shared humanity to survive in it. Sly, devastating shots reveal that Romania’s business class has built itself on the backs of the poor. Searching for advice on how to get ahead at work, Ines is told to stop listening to other people. She’s forced to leverage every social gathering for transactional benefit, while her client — a prosperous American oil CEO looking to “cut costs” — belittles her in public to avoid admitting he has to take her advice. In the face of such direct exposure to how the world really works, Toni’s version of reality offers an escape hatch. Wouldn’t it be nice, for once, to throw away ambitions and live inside a joke?\u003c/p>\n\u003cfigure id=\"attachment_12640682\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni1.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her third film, Ade could not have constructed her story any finer. Every beat is calibrated, not only for the punchlines but also the long, awkward pauses that absorb Toni’s extraterrestrial weirdness into the earth. But Ade’s work would be for nothing without her two dueling leads. Simonischek is the showier role, always putting on two or three layers of performance: as the blustery Toni he often stumbles while improvising his web of lies, and is quick to backtrack with the constant refrain, “It’s just a joke.” Hüller, meanwhile, is a portrait of slow-burning tragedy, and her bitterness comes with a specific exhaustion at a lifetime being the butt of other people’s jokes. There is one devastating scene in a club where Ines, slumped into a couch riding a line of cocaine, is essentially daring her father to look away from her lifestyle, even as she calls out subconsciously to him for help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Affleck's 'Live By Night': An Ambitious, Frenetic But Overstuffed Gangster Film",
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"content": "\u003cp>Ben Affleck made his debut as a director with 2007’s \u003cem>Gone Baby Gone,\u003c/em> a much-admired adaptation of a Dennis Lehane crime novel. After the success of 2012’s \u003cem>Argo\u003c/em> — which won the Academy Award for best picture without so much as a nomination for Affleck, its director and co-star — he was in a position to choose his projects, but he stuck with the one he’d been eyeing even before \u003cem>Argo\u003c/em> was released: \u003cem>Live By Night,\u003c/em> another Lehane book, this one about a Central Florida bootlegger’s struggles with rival gangsters and the Ku Klux Klan during the late 1920s and early 1930s.\u003c/p>\n\u003cp>But a funny thing happened on the way to the speakeasy: Affleck became a movie star again. He played a murder suspect in \u003cem>Gone Girl\u003c/em>, a critical and commercial hit, and signed a multi-picture deal as the latest Batman.\u003cem> Live by Night \u003c/em>was repeatedly back-burnered.\u003c/p>\n\u003cp>Now that it’s finally here, the finished film betrays its writer, producer, director, and star’s divided attention. The picture is handsome and ambitious but maddeningly unfocused. It aspires to be a grand meditation on American corruption in the vein of \u003cem>Once Upon a Time in America\u003c/em> or \u003cem>There Will Be Blood. \u003c/em>But in the end, it’s just a slightly better-than-mediocre genre picture, one literally dressed up in fancy clothes. (Affleck’s dozens of pinstripe suits and fedoras must have taken a substantial bite out of its $65 million budget.)\u003c/p>\n\u003cp>https://youtu.be/ClcQUlXcCKw\u003c/p>\n\u003cp>Part of the problem is Affleck’s screenplay, which tries to preserve more of Lehane’s 400-page book (itself the middle installment in a trilogy) than the film’s 128-minute run time can handle. The first act, which establishes Affleck’s Joe Coughlin as World War I vet-turned-hoodlum in Prohibition-era Boston, is particularly bloated. Coughlin is in love with a mobster’s mistress (Sienna Miller), and after a botched heist and a betrayal by his moll, he finds himself beaten and about to be murdered. His police-captain father (Brendan Gleeson, a pleasure to watch no matter how small the role) saves his life, and even blackmails a District Attorney to secure leniency for his son’s many crimes. Coughlin serves three years in prison, then finds himself drafted into the service of Italian mob capo (Remo Girone), who sends him to Tampa to clean up his operation illegally importing Cuban rum. Want to know more about how the son of a high-ranking cop became a crook? Me, too. Guess I’ll have to read Lehane’s book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, the movie should’ve eighty-sixed all that preamble and just opened with Coughlin getting off the train in Ybor City, where it finally manages a foothold on some less-trod narrative turf. Affleck has some nice chemistry with Chris Messina, who plays his lieutenant and guide to the shadowy parts of the Sunshine State, and his relationship with Chris Cooper — as Irving Figgis, a pragmatic lawman who’s willing to turn a blind eye to crimes of vice if the crooks keep violence to a minimum — is the picture’s most intriguing. Figgis has a teenage daughter, Loretta (Elle Fanning), who’s off to be a star in Hollywood. Of all the story’s shaggy turns, that Chief Figgis has given his blessing to this plan is the hardest to swallow.\u003c/p>\n\u003cp>Coughlin is a Irish Catholic working for Italians, romantically involved with a Cuban woman (Zoe Saldana), and running speakeasies that cater to black people. Any one of those would be reason enough to rile the KKK. Stopping a local Klansman from bombing and shooting up his clubs means blackmailing Chief Figgis with dirty pictures of his strung-out little girl. Once she gets clean, she becomes a church leader who campaigns against the casino Coughlin is building on the expectation that after prohibition ends, gambling, like hooch, will eventually be legalized. Like Cooper, Fanning makes a strong impression in just a handful of scenes, which just underscores how sterile the movie is when she (and he) is not in it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Again, it’s a miniseries worth of story packed too tightly to resonate on an emotional level. The overcaffeinated pace also prevents the film from breathing photographically, even though Affleck hired the great cinematographer Robert Richardson, who has shot multiple features for Martin Scorcese, Oliver Stone, and Quentin Tarantino, including last Christmas’s Ultra Panavision 70 Western \u003cem>The Hateful Eight. \u003c/em>That fact, even more than Affleck’s haphazard and intrusive voice-over narration, betrays the yawning gulf between what \u003cem>Live By Night \u003c/em>aims for and what it delivers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ben Affleck made his debut as a director with 2007’s \u003cem>Gone Baby Gone,\u003c/em> a much-admired adaptation of a Dennis Lehane crime novel. After the success of 2012’s \u003cem>Argo\u003c/em> — which won the Academy Award for best picture without so much as a nomination for Affleck, its director and co-star — he was in a position to choose his projects, but he stuck with the one he’d been eyeing even before \u003cem>Argo\u003c/em> was released: \u003cem>Live By Night,\u003c/em> another Lehane book, this one about a Central Florida bootlegger’s struggles with rival gangsters and the Ku Klux Klan during the late 1920s and early 1930s.\u003c/p>\n\u003cp>But a funny thing happened on the way to the speakeasy: Affleck became a movie star again. He played a murder suspect in \u003cem>Gone Girl\u003c/em>, a critical and commercial hit, and signed a multi-picture deal as the latest Batman.\u003cem> Live by Night \u003c/em>was repeatedly back-burnered.\u003c/p>\n\u003cp>Now that it’s finally here, the finished film betrays its writer, producer, director, and star’s divided attention. The picture is handsome and ambitious but maddeningly unfocused. It aspires to be a grand meditation on American corruption in the vein of \u003cem>Once Upon a Time in America\u003c/em> or \u003cem>There Will Be Blood. \u003c/em>But in the end, it’s just a slightly better-than-mediocre genre picture, one literally dressed up in fancy clothes. (Affleck’s dozens of pinstripe suits and fedoras must have taken a substantial bite out of its $65 million budget.)\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/ClcQUlXcCKw'\n title='//www.youtube.com/embed/ClcQUlXcCKw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of the problem is Affleck’s screenplay, which tries to preserve more of Lehane’s 400-page book (itself the middle installment in a trilogy) than the film’s 128-minute run time can handle. The first act, which establishes Affleck’s Joe Coughlin as World War I vet-turned-hoodlum in Prohibition-era Boston, is particularly bloated. Coughlin is in love with a mobster’s mistress (Sienna Miller), and after a botched heist and a betrayal by his moll, he finds himself beaten and about to be murdered. His police-captain father (Brendan Gleeson, a pleasure to watch no matter how small the role) saves his life, and even blackmails a District Attorney to secure leniency for his son’s many crimes. Coughlin serves three years in prison, then finds himself drafted into the service of Italian mob capo (Remo Girone), who sends him to Tampa to clean up his operation illegally importing Cuban rum. Want to know more about how the son of a high-ranking cop became a crook? Me, too. Guess I’ll have to read Lehane’s book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, the movie should’ve eighty-sixed all that preamble and just opened with Coughlin getting off the train in Ybor City, where it finally manages a foothold on some less-trod narrative turf. Affleck has some nice chemistry with Chris Messina, who plays his lieutenant and guide to the shadowy parts of the Sunshine State, and his relationship with Chris Cooper — as Irving Figgis, a pragmatic lawman who’s willing to turn a blind eye to crimes of vice if the crooks keep violence to a minimum — is the picture’s most intriguing. Figgis has a teenage daughter, Loretta (Elle Fanning), who’s off to be a star in Hollywood. Of all the story’s shaggy turns, that Chief Figgis has given his blessing to this plan is the hardest to swallow.\u003c/p>\n\u003cp>Coughlin is a Irish Catholic working for Italians, romantically involved with a Cuban woman (Zoe Saldana), and running speakeasies that cater to black people. Any one of those would be reason enough to rile the KKK. Stopping a local Klansman from bombing and shooting up his clubs means blackmailing Chief Figgis with dirty pictures of his strung-out little girl. Once she gets clean, she becomes a church leader who campaigns against the casino Coughlin is building on the expectation that after prohibition ends, gambling, like hooch, will eventually be legalized. Like Cooper, Fanning makes a strong impression in just a handful of scenes, which just underscores how sterile the movie is when she (and he) is not in it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Again, it’s a miniseries worth of story packed too tightly to resonate on an emotional level. The overcaffeinated pace also prevents the film from breathing photographically, even though Affleck hired the great cinematographer Robert Richardson, who has shot multiple features for Martin Scorcese, Oliver Stone, and Quentin Tarantino, including last Christmas’s Ultra Panavision 70 Western \u003cem>The Hateful Eight. \u003c/em>That fact, even more than Affleck’s haphazard and intrusive voice-over narration, betrays the yawning gulf between what \u003cem>Live By Night \u003c/em>aims for and what it delivers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Donny McCaslin: Tiny Desk Concert",
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"content": "\u003cp>[http_redir]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=508382112&mediaId=508385300\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">David Bowie\u003c/a> had long wanted to make a record with a jazz band, and on Jan. 8 of last year, he realized his dream with the release of \u003cem>Blackstar\u003c/em>. Two days later, he was gone. \u003ca href=\"http://www.npr.org/artists/140672978/donny-mccaslin\" target=\"_blank\" rel=\"noopener\">Donny McCaslin\u003c/a>‘s band helped him make that record, and now, a year later, we pay tribute to Bowie and \u003cem>Blackstar\u003c/em> by bringing McCaslin’s band to the Tiny Desk.\u003c/p>\n\u003cp>It’s been exciting to see jazz find its way into the broader music world in recent years; think \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a> and hip-hop in general. Musicians such as McCaslin often play in their own small circuit, but have much to offer popular music. As a bandleader and sax player, he’s put out a dozen albums, the most recent of which is \u003cem>Beyond Now\u003c/em>, with musicians Tim Lefebvre on bass, drummer Mark Guiliana and keyboardist Jason Lindner.\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> was recorded after \u003cem>Blackstar, \u003c/em>features a few Bowie covers and stretches the band’s own usual boundaries. For this Tiny Desk concert, you can hear an extraordinary group playing extraordinary music — including an instrumental version of “Lazarus,” from \u003cem>Blackstar\u003c/em>. Just as Bowie brought these musicians into his rock-leaning world, I hope this set takes you down McCaslin’s jazz path.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> is available now. (\u003ca href=\"https://itunes.apple.com/us/album/beyond-now-deluxe-edition/id1135903858\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>) (\u003ca href=\"https://www.amazon.com/Beyond-Now-Donny-McCaslin/dp/B01J6SD77Y\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a>)\u003c/p>\n\u003ch5>Set List\u003c/h5>\n\u003cul>\n\u003cli>“Shake Loose”\u003c/li>\n\u003cli>“Lazarus” (David Bowie)\u003c/li>\n\u003cli>“Glory”\u003c/li>\n\u003c/ul>\n\u003ch5>Musicians\u003c/h5>\n\u003cp>\u003cem>Donny McCaslin (saxophone); Jason Lindner (keys); Tim Lefebvre (bass); Mark Guiliana (drums).\u003c/em>\u003c/p>\n\u003ch5>\u003cstrong>Credits\u003c/strong>\u003c/h5>\n\u003cp>\u003cem>Producers: Bob Boilen, Niki Walker; Audio Engineer: Josh Rogosin; Videographers: Niki Walker, Nicole Boliaux; Production Assistant: Anna Marketti; Photo: Raquel Zaldivar/NPR.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Tiny Desk concerts, subscribe to our \u003ca href=\"http://www.npr.org/podcasts/510292/tiny-desk-concerts-video\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Donny+McCaslin%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[http_redir]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=508382112&mediaId=508385300\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">David Bowie\u003c/a> had long wanted to make a record with a jazz band, and on Jan. 8 of last year, he realized his dream with the release of \u003cem>Blackstar\u003c/em>. Two days later, he was gone. \u003ca href=\"http://www.npr.org/artists/140672978/donny-mccaslin\" target=\"_blank\" rel=\"noopener\">Donny McCaslin\u003c/a>‘s band helped him make that record, and now, a year later, we pay tribute to Bowie and \u003cem>Blackstar\u003c/em> by bringing McCaslin’s band to the Tiny Desk.\u003c/p>\n\u003cp>It’s been exciting to see jazz find its way into the broader music world in recent years; think \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a> and hip-hop in general. Musicians such as McCaslin often play in their own small circuit, but have much to offer popular music. As a bandleader and sax player, he’s put out a dozen albums, the most recent of which is \u003cem>Beyond Now\u003c/em>, with musicians Tim Lefebvre on bass, drummer Mark Guiliana and keyboardist Jason Lindner.\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> was recorded after \u003cem>Blackstar, \u003c/em>features a few Bowie covers and stretches the band’s own usual boundaries. For this Tiny Desk concert, you can hear an extraordinary group playing extraordinary music — including an instrumental version of “Lazarus,” from \u003cem>Blackstar\u003c/em>. Just as Bowie brought these musicians into his rock-leaning world, I hope this set takes you down McCaslin’s jazz path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> is available now. (\u003ca href=\"https://itunes.apple.com/us/album/beyond-now-deluxe-edition/id1135903858\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>) (\u003ca href=\"https://www.amazon.com/Beyond-Now-Donny-McCaslin/dp/B01J6SD77Y\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a>)\u003c/p>\n\u003ch5>Set List\u003c/h5>\n\u003cul>\n\u003cli>“Shake Loose”\u003c/li>\n\u003cli>“Lazarus” (David Bowie)\u003c/li>\n\u003cli>“Glory”\u003c/li>\n\u003c/ul>\n\u003ch5>Musicians\u003c/h5>\n\u003cp>\u003cem>Donny McCaslin (saxophone); Jason Lindner (keys); Tim Lefebvre (bass); Mark Guiliana (drums).\u003c/em>\u003c/p>\n\u003ch5>\u003cstrong>Credits\u003c/strong>\u003c/h5>\n\u003cp>\u003cem>Producers: Bob Boilen, Niki Walker; Audio Engineer: Josh Rogosin; Videographers: Niki Walker, Nicole Boliaux; Production Assistant: Anna Marketti; Photo: Raquel Zaldivar/NPR.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Tiny Desk concerts, subscribe to our \u003ca href=\"http://www.npr.org/podcasts/510292/tiny-desk-concerts-video\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Donny+McCaslin%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Clothes Don't Make a First Lady, But They Can Make a Statement",
"headTitle": "Clothes Don’t Make a First Lady, But They Can Make a Statement | KQED",
"content": "\u003cp>From head to toe, a first lady’s look is heavily scrutinized, and Melania Trump will be no exception. But Trump is no stranger to the spotlight: In 2005, she was on the cover of \u003cem>Vogue\u003c/em> in her Dior wedding dress, and she’s modeled for \u003cem>Harper’s Bazaar\u003c/em> and posed nude for \u003cem>GQ\u003c/em>. She also once sold her own line of costume jewelry and watches on QVC.\u003c/p>\n\u003cp>With the whole world watching, the first lady can make a fashion statement like no one else. She can also make a difference during the campaign. In October 2008, just days before the election, Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> wearing a mustard yellow sweater and printed silk shirt. When Jay Leno asked her what she was wearing, she told him her outfit was from J. Crew. The audience roared with excitement: “We ladies, we know J.Crew,” Obama said knowingly. “You can get some good stuff online.”\u003c/p>\n\u003cp>Chicago boutique owner Ikram Goldman worked as Obama’s fashion consultant at the time. She says, “The idea of her being inclusive was very important, and I think it was important to other people who were looking at her to feel like they can have access to that as well.”\u003c/p>\n\u003cp>Obama also championed young American designers like Jason Wu, whose career took off after she wore his one-shouldered, white chiffon gown to President Obama’s 2009 inaugural balls. Goldman helped select the gown but kept it a secret until that night. She says when Wu saw it on TV, he called her. “He was crying. He was shocked. He was happy. He couldn’t believe it,” Goldman remembers.\u003c/p>\n\u003cfigure id=\"attachment_12603867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg\" alt=\"Michelle Obama appeared on <em>The Tonight Show</em> on Oct. 27, 2008, just days before the election.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12603867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> on Oct. 27, 2008, just days before the election. \u003ccite>(Photo: Kevork Djansezian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obama was embraced by the fashion industry, but Melania Trump comes from it. A former model, Trump seems to have a preference for European designers. She’s often seen wearing such luxury brands such as Gucci and Dolce & Gabbana, most of which she reportedly bought off the rack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Expensive” and “body conscious” are among the first words Robin Givhan uses when asked to describe Trump’s style. Givhan, a Pulitzer Prize-winning fashion critic for \u003cem>The Washington Post\u003c/em>, says, “It speaks to a bank account; it speaks to a particular kind of social life; and it speaks to a particular tribe of women who exist in New York, in particular. … They lead very comfortable lives. … They have both the time and the energy to attend to themselves.” Givhan says Trump’s look has “a polish to it, a glamour to it, but not in a particularly personal or individual way.”\u003c/p>\n\u003cp>Like Michelle Obama before her, Melania Trump’s choices are already making an impact. For her speech at the Republican National Convention this summer, Trump wore an ivory, cotton and silk dress with sleeves that billowed at the elbows. The $2,195 dress (by Serbian-born designer Roksanda Ilincic) reportedly sold out in the days following Trump’s speech.\u003c/p>\n\u003cfigure id=\"attachment_12603869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg\" alt=\"Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12603869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic. \u003ccite>(Photo: Timothy A. Clary/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, retailers in Washington, D.C., are getting ready for a very different style of first lady. The ladies consignment shop Inga’s Once Is Not Enough is something of an institution in the nation’s capital, especially for women who need to dress for high-powered, formal events on a federal government salary. Sorting through the racks, owner Inga Guen says she would love to dress Melania Trump. She pulls out an olive green Oscar de la Renta dress, hand-embroidered with ivory beading, and a black cashmere jacket with a fur collar by Valentino. “She would look très chic — très, très, très chic — in this,” Guen says.\u003c/p>\n\u003cp>Guen describes Trump’s style as daring and slightly eccentric with a European sensibility. She says she’s already had three new clients come into her shop who’ve been hired by the new administration. “I have no idea how they heard about me, but I dressed them and they were so, so very happy to have met Melania Trump,” she says. Asked whether their style was anything like Trump’s, Guen replies, “Au contraire, it was not similar to her at all. But I said, ‘We have to put a little bit of oomph in your wardrobe right now, we have to be a little bit glamourous.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guen hopes to do business with Trump, but the fashion industry is splitting at the seams over whether to work with her. Some designers have said absolutely not; others say it would be an honor to dress any first lady. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Clothes+Don%27t+Make+A+First+Lady%2C+But+They+Can+Make+A+Statement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Michelle Obama is known for wearing affordable clothing, while Melania Trump is often seen in luxury brands. One critic describes Trump's look as polished and glamorous, but not very personal.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From head to toe, a first lady’s look is heavily scrutinized, and Melania Trump will be no exception. But Trump is no stranger to the spotlight: In 2005, she was on the cover of \u003cem>Vogue\u003c/em> in her Dior wedding dress, and she’s modeled for \u003cem>Harper’s Bazaar\u003c/em> and posed nude for \u003cem>GQ\u003c/em>. She also once sold her own line of costume jewelry and watches on QVC.\u003c/p>\n\u003cp>With the whole world watching, the first lady can make a fashion statement like no one else. She can also make a difference during the campaign. In October 2008, just days before the election, Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> wearing a mustard yellow sweater and printed silk shirt. When Jay Leno asked her what she was wearing, she told him her outfit was from J. Crew. The audience roared with excitement: “We ladies, we know J.Crew,” Obama said knowingly. “You can get some good stuff online.”\u003c/p>\n\u003cp>Chicago boutique owner Ikram Goldman worked as Obama’s fashion consultant at the time. She says, “The idea of her being inclusive was very important, and I think it was important to other people who were looking at her to feel like they can have access to that as well.”\u003c/p>\n\u003cp>Obama also championed young American designers like Jason Wu, whose career took off after she wore his one-shouldered, white chiffon gown to President Obama’s 2009 inaugural balls. Goldman helped select the gown but kept it a secret until that night. She says when Wu saw it on TV, he called her. “He was crying. He was shocked. He was happy. He couldn’t believe it,” Goldman remembers.\u003c/p>\n\u003cfigure id=\"attachment_12603867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg\" alt=\"Michelle Obama appeared on <em>The Tonight Show</em> on Oct. 27, 2008, just days before the election.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12603867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> on Oct. 27, 2008, just days before the election. \u003ccite>(Photo: Kevork Djansezian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obama was embraced by the fashion industry, but Melania Trump comes from it. A former model, Trump seems to have a preference for European designers. She’s often seen wearing such luxury brands such as Gucci and Dolce & Gabbana, most of which she reportedly bought off the rack.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Expensive” and “body conscious” are among the first words Robin Givhan uses when asked to describe Trump’s style. Givhan, a Pulitzer Prize-winning fashion critic for \u003cem>The Washington Post\u003c/em>, says, “It speaks to a bank account; it speaks to a particular kind of social life; and it speaks to a particular tribe of women who exist in New York, in particular. … They lead very comfortable lives. … They have both the time and the energy to attend to themselves.” Givhan says Trump’s look has “a polish to it, a glamour to it, but not in a particularly personal or individual way.”\u003c/p>\n\u003cp>Like Michelle Obama before her, Melania Trump’s choices are already making an impact. For her speech at the Republican National Convention this summer, Trump wore an ivory, cotton and silk dress with sleeves that billowed at the elbows. The $2,195 dress (by Serbian-born designer Roksanda Ilincic) reportedly sold out in the days following Trump’s speech.\u003c/p>\n\u003cfigure id=\"attachment_12603869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg\" alt=\"Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12603869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic. \u003ccite>(Photo: Timothy A. Clary/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, retailers in Washington, D.C., are getting ready for a very different style of first lady. The ladies consignment shop Inga’s Once Is Not Enough is something of an institution in the nation’s capital, especially for women who need to dress for high-powered, formal events on a federal government salary. Sorting through the racks, owner Inga Guen says she would love to dress Melania Trump. She pulls out an olive green Oscar de la Renta dress, hand-embroidered with ivory beading, and a black cashmere jacket with a fur collar by Valentino. “She would look très chic — très, très, très chic — in this,” Guen says.\u003c/p>\n\u003cp>Guen describes Trump’s style as daring and slightly eccentric with a European sensibility. She says she’s already had three new clients come into her shop who’ve been hired by the new administration. “I have no idea how they heard about me, but I dressed them and they were so, so very happy to have met Melania Trump,” she says. Asked whether their style was anything like Trump’s, Guen replies, “Au contraire, it was not similar to her at all. But I said, ‘We have to put a little bit of oomph in your wardrobe right now, we have to be a little bit glamourous.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guen hopes to do business with Trump, but the fashion industry is splitting at the seams over whether to work with her. Some designers have said absolutely not; others say it would be an honor to dress any first lady. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Clothes+Don%27t+Make+A+First+Lady%2C+But+They+Can+Make+A+Statement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Meet the Producer Who Runs Her Opera Empire from a Two-Bedroom Apartment | KQED",
"content": "\u003cp>Classical composers have long had their patrons: \u003ca href=\"http://www.npr.org/artists/15232481/ludwig-van-beethoven\" target=\"_blank\" rel=\"noopener\">Beethoven\u003c/a> had Archduke Rudolph, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=91576532\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> had Betty Freeman. For contemporary opera composers, there’s \u003ca href=\"http://www.bethmorrisonprojects.org/\" target=\"_blank\" rel=\"noopener\">Beth Morrison\u003c/a>. She and her production company have commissioned new works from some of the most innovative emerging composers today.\u003c/p>\n\u003cp>Morrison is not your typical moneyed patron, though. “I didn’t come from money and I didn’t have money and I wanted to live in New York!” she says. She runs her empire from a two-bedroom walk-up apartment in Flatbush, Brooklyn.\u003c/p>\n\u003cp>One bedroom in the apartment is for sleeping. The other is a workspace for her eight employees. “I’ve always run the business from my home, maybe much to the chagrin of my board,” she says. “For me, the decision is always really clear: I could spend $30 to $40,000 on an office space every year, or I could put that into a commission.”\u003c/p>\n\u003cp>Morrison has commissioned works from David T. Little, Mohammed Fairouz and \u003ca href=\"http://www.npr.org/artists/129931742/missy-mazzoli\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>. Mazzoli, whose first opera, \u003cem>Song from the Uproar\u003c/em>, was produced by Morrison, calls her a true individual.\u003c/p>\n\u003cfigure id=\"attachment_12589283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg\" alt=\"'Breaking the Waves,' Missy Mazzoli's latest opera, makes its New York premiere this year at Beth Morrison's Prototype festival.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12589283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Breaking the Waves,’ Missy Mazzoli’s latest opera, makes its New York premiere this year at Beth Morrison’s Prototype festival. \u003ccite>(Dominic M. Mercier/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beth has this famous boot collection that is just amazing — it blows my mind,” Mazzoli says. “It’s sort of a symbol of this commitment of being an individual and to being an iconoclast and to doing things her own way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morrison says she follows her guts and her ears in her work. “I won’t do anything unless I’m mad crazy about the music and the composer and really feeling like they’re contributing something to the field that is different,” she says.\u003c/p>\n\u003cp>David T. Little says Morrison expressed this kind of excitement for his work \u003cem>Soldier Songs\u003c/em> after she watched a video he sent her. “[She] called me almost immediately and says, ‘We have to do this piece. I don’t know where we’re gonna get the money, I don’t know how we’re gonna do it … but we have to do it!'” he says.\u003c/p>\n\u003cp>Little says this moment was a perfect illustration of how Morrison works: When she’s excited about something, she makes it happen. Their work together has continued: Last year, Morrison featured Little’s post-apocalyptic opera, \u003cem>Dog Days, \u003c/em>at \u003ca href=\"http://prototypefestival.org/\" target=\"_blank\" rel=\"noopener\">Prototype\u003c/a>, the annual festival she co-produces to showcase new work. The 2017 festival begins tonight in New York.\u003c/p>\n\u003cp>Morrison doesn’t have her own theater. Instead, she partners with venues in New York and around the country to give works more than one hearing. “[Composers] need their works to be seen by as many people as possible,” she says. “I feel like I’ve succeeded — particularly with an opera project, ’cause they’re large and expensive — if we’ve been able to give two to five presentations of the piece in different cities.”\u003c/p>\n\u003cp>One project that achieved success by this metric was Mazzoli’s latest opera, \u003cem>Breaking the Waves\u003c/em>. Last fall, Morrison partnered with Opera Philadelphia to present the piece, and it’s now being done at this year’s Prototype festival. Kamala Sankaram, whose opera \u003cem>Thumbprint \u003c/em>premiered at the first Prototype, will see it restaged at LA Opera this June, thanks to Morrison’s efforts.\u003c/p>\n\u003cp>Morrison’s commitment to extending the life of her composers’ works has made them just as passionately devoted to her as she is to them. Sankaram says Morrison’s work is not easy.\u003c/p>\n\u003cp>“To make contemporary opera your business takes a lot of guts,” Sankaram says. “I don’t want to go there too much, but there’s still a lot of sexism in our field, and so for her to do this on her own is really kind of astonishing.”\u003c/p>\n\u003cp>Morrison’s current season includes five world premieres, nine tours and her annual festival — all funded and produced out of her apartment-based nonprofit. Her schedule is certainly packed, but she says championing new composers has been intensely rewarding work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s been thrilling to be a part of the launch of these incredible composers,” she says. “It really has been this symbiotic relationship that I feel very grateful for.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meet+The+Producer+Who+Runs+Her+Opera+Empire+From+A+Two-Bedroom+Apartment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Classical composers have long had their patrons: \u003ca href=\"http://www.npr.org/artists/15232481/ludwig-van-beethoven\" target=\"_blank\" rel=\"noopener\">Beethoven\u003c/a> had Archduke Rudolph, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=91576532\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> had Betty Freeman. For contemporary opera composers, there’s \u003ca href=\"http://www.bethmorrisonprojects.org/\" target=\"_blank\" rel=\"noopener\">Beth Morrison\u003c/a>. She and her production company have commissioned new works from some of the most innovative emerging composers today.\u003c/p>\n\u003cp>Morrison is not your typical moneyed patron, though. “I didn’t come from money and I didn’t have money and I wanted to live in New York!” she says. She runs her empire from a two-bedroom walk-up apartment in Flatbush, Brooklyn.\u003c/p>\n\u003cp>One bedroom in the apartment is for sleeping. The other is a workspace for her eight employees. “I’ve always run the business from my home, maybe much to the chagrin of my board,” she says. “For me, the decision is always really clear: I could spend $30 to $40,000 on an office space every year, or I could put that into a commission.”\u003c/p>\n\u003cp>Morrison has commissioned works from David T. Little, Mohammed Fairouz and \u003ca href=\"http://www.npr.org/artists/129931742/missy-mazzoli\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>. Mazzoli, whose first opera, \u003cem>Song from the Uproar\u003c/em>, was produced by Morrison, calls her a true individual.\u003c/p>\n\u003cfigure id=\"attachment_12589283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg\" alt=\"'Breaking the Waves,' Missy Mazzoli's latest opera, makes its New York premiere this year at Beth Morrison's Prototype festival.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12589283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Breaking the Waves,’ Missy Mazzoli’s latest opera, makes its New York premiere this year at Beth Morrison’s Prototype festival. \u003ccite>(Dominic M. Mercier/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beth has this famous boot collection that is just amazing — it blows my mind,” Mazzoli says. “It’s sort of a symbol of this commitment of being an individual and to being an iconoclast and to doing things her own way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morrison says she follows her guts and her ears in her work. “I won’t do anything unless I’m mad crazy about the music and the composer and really feeling like they’re contributing something to the field that is different,” she says.\u003c/p>\n\u003cp>David T. Little says Morrison expressed this kind of excitement for his work \u003cem>Soldier Songs\u003c/em> after she watched a video he sent her. “[She] called me almost immediately and says, ‘We have to do this piece. I don’t know where we’re gonna get the money, I don’t know how we’re gonna do it … but we have to do it!'” he says.\u003c/p>\n\u003cp>Little says this moment was a perfect illustration of how Morrison works: When she’s excited about something, she makes it happen. Their work together has continued: Last year, Morrison featured Little’s post-apocalyptic opera, \u003cem>Dog Days, \u003c/em>at \u003ca href=\"http://prototypefestival.org/\" target=\"_blank\" rel=\"noopener\">Prototype\u003c/a>, the annual festival she co-produces to showcase new work. The 2017 festival begins tonight in New York.\u003c/p>\n\u003cp>Morrison doesn’t have her own theater. Instead, she partners with venues in New York and around the country to give works more than one hearing. “[Composers] need their works to be seen by as many people as possible,” she says. “I feel like I’ve succeeded — particularly with an opera project, ’cause they’re large and expensive — if we’ve been able to give two to five presentations of the piece in different cities.”\u003c/p>\n\u003cp>One project that achieved success by this metric was Mazzoli’s latest opera, \u003cem>Breaking the Waves\u003c/em>. Last fall, Morrison partnered with Opera Philadelphia to present the piece, and it’s now being done at this year’s Prototype festival. Kamala Sankaram, whose opera \u003cem>Thumbprint \u003c/em>premiered at the first Prototype, will see it restaged at LA Opera this June, thanks to Morrison’s efforts.\u003c/p>\n\u003cp>Morrison’s commitment to extending the life of her composers’ works has made them just as passionately devoted to her as she is to them. Sankaram says Morrison’s work is not easy.\u003c/p>\n\u003cp>“To make contemporary opera your business takes a lot of guts,” Sankaram says. “I don’t want to go there too much, but there’s still a lot of sexism in our field, and so for her to do this on her own is really kind of astonishing.”\u003c/p>\n\u003cp>Morrison’s current season includes five world premieres, nine tours and her annual festival — all funded and produced out of her apartment-based nonprofit. Her schedule is certainly packed, but she says championing new composers has been intensely rewarding work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s been thrilling to be a part of the launch of these incredible composers,” she says. “It really has been this symbiotic relationship that I feel very grateful for.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meet+The+Producer+Who+Runs+Her+Opera+Empire+From+A+Two-Bedroom+Apartment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
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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",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"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",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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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": {
"id": "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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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"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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}
},
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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",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"meta": {
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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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"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",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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",
"subscribe": {
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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": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"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",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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