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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. 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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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"title": "Meet the Producer Who Runs Her Opera Empire from a Two-Bedroom Apartment",
"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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"content": "\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \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=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \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=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They call it “The Leaning Tower of San Francisco.”\u003c/p>\n\u003cp>But it wasn’t always that way. The luxury skyscraper was billed as “state of the art” when it opened a few years ago. People paid millions for condos there.\u003c/p>\n\u003cp>Now the Millennium Tower is sinking and tilting — about 6 inches to one side. Residents and the city are \u003ca href=\"https://ww2.kqed.org/news/2016/12/29/trapped-at-the-pinnacle-of-luxury-life-at-the-top-of-s-f-s-leaning-tower/\" target=\"_blank\" rel=\"noopener\">suing the developer\u003c/a>.\u003c/p>\n\u003cp>Pamela Buttery lives on the 57th floor. To demonstrate how her home tilts slightly to the left, Buttery \u003ca href=\"https://www.youtube.com/watch?v=kzoaSF42G3I\" target=\"_blank\" rel=\"noopener\">hits a golf ball\u003c/a> straight ahead toward the window.\u003c/p>\n\u003cp>“So there it goes rolling,” she says. “And it kind of picks up speed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ball takes a sharp left turn toward the direction of the tilt, and it ends up in the northwest corner of her living room.\u003c/p>\n\u003cp>Buttery bought this unit as the tower was being completed in 2010. But documents obtained by the city show that as early as 2009, developers and city building inspectors knew the tower was settling faster than expected.\u003c/p>\n\u003cp>Buttery and other residents were not told until May 2016, and by then, the building had sunk more than a foot and was leaning 6 inches to the northwest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kzoaSF42G3I\u003c/p>\n\u003cp>“San Francisco has been in the midst of an unparalleled building boom, the largest building boom we’ve had since World War II, arguably since the Gold Rush,” says San Francisco Supervisor Aaron Peskin. “And we need to make sure that we are building buildings that are safe, that people’s investments are safe.”\u003c/p>\n\u003cp>Peskin is leading what is likely to be a long series of investigative hearings on the troubled tower. Some key questions: Should the city require high-rise developers to drill their foundations into bedrock? Also, why is the building’s frame made of concrete instead of steel?\u003c/p>\n\u003cp>The Millennium Tower’s foundation is anchored into a landfill. Concrete is cheaper, but it’s also much heavier.\u003c/p>\n\u003cp>And what about the massive new train and bus terminal being constructed right next door? Millennium spokesman P.J. Johnston says workers have been pumping out huge amounts of water as they tunnel through the soil. Johnston says that process, known as dewatering, is destabilizing the ground.\u003c/p>\n\u003cp>“We need to stop the dewatering, work together on any remediation that needs to be done to fix any damages,” Johnston says. “And then we’ll sort out all the liabilities later.”\u003c/p>\n\u003cp>Johnston says engineers have inspected the tower and confirm it’s safe. Still, that leaves perhaps the biggest question of them all: How to fix the tower, or at least keep it from leaning even more?\u003c/p>\n\u003cp>Some solutions include pouring a concrete collar around the foundation or building a buttress.\u003c/p>\n\u003cp>Buttery, who is 76, says so much for her peaceful retirement.\u003c/p>\n\u003cp>“I’ve moved on into depression about it,” she says. “So it’s a gloomy feeling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even her favorite pastime — putting golf balls — doesn’t give her the same joy it once did. No matter which way she hits them, they all end up in the same corner. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Francisco%27s+%27Leaning+Tower%27+Has+Residents+Fuming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They call it “The Leaning Tower of San Francisco.”\u003c/p>\n\u003cp>But it wasn’t always that way. The luxury skyscraper was billed as “state of the art” when it opened a few years ago. People paid millions for condos there.\u003c/p>\n\u003cp>Now the Millennium Tower is sinking and tilting — about 6 inches to one side. Residents and the city are \u003ca href=\"https://ww2.kqed.org/news/2016/12/29/trapped-at-the-pinnacle-of-luxury-life-at-the-top-of-s-f-s-leaning-tower/\" target=\"_blank\" rel=\"noopener\">suing the developer\u003c/a>.\u003c/p>\n\u003cp>Pamela Buttery lives on the 57th floor. To demonstrate how her home tilts slightly to the left, Buttery \u003ca href=\"https://www.youtube.com/watch?v=kzoaSF42G3I\" target=\"_blank\" rel=\"noopener\">hits a golf ball\u003c/a> straight ahead toward the window.\u003c/p>\n\u003cp>“So there it goes rolling,” she says. “And it kind of picks up speed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ball takes a sharp left turn toward the direction of the tilt, and it ends up in the northwest corner of her living room.\u003c/p>\n\u003cp>Buttery bought this unit as the tower was being completed in 2010. But documents obtained by the city show that as early as 2009, developers and city building inspectors knew the tower was settling faster than expected.\u003c/p>\n\u003cp>Buttery and other residents were not told until May 2016, and by then, the building had sunk more than a foot and was leaning 6 inches to the northwest.\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/kzoaSF42G3I'\n title='//www.youtube.com/embed/kzoaSF42G3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“San Francisco has been in the midst of an unparalleled building boom, the largest building boom we’ve had since World War II, arguably since the Gold Rush,” says San Francisco Supervisor Aaron Peskin. “And we need to make sure that we are building buildings that are safe, that people’s investments are safe.”\u003c/p>\n\u003cp>Peskin is leading what is likely to be a long series of investigative hearings on the troubled tower. Some key questions: Should the city require high-rise developers to drill their foundations into bedrock? Also, why is the building’s frame made of concrete instead of steel?\u003c/p>\n\u003cp>The Millennium Tower’s foundation is anchored into a landfill. Concrete is cheaper, but it’s also much heavier.\u003c/p>\n\u003cp>And what about the massive new train and bus terminal being constructed right next door? Millennium spokesman P.J. Johnston says workers have been pumping out huge amounts of water as they tunnel through the soil. Johnston says that process, known as dewatering, is destabilizing the ground.\u003c/p>\n\u003cp>“We need to stop the dewatering, work together on any remediation that needs to be done to fix any damages,” Johnston says. “And then we’ll sort out all the liabilities later.”\u003c/p>\n\u003cp>Johnston says engineers have inspected the tower and confirm it’s safe. Still, that leaves perhaps the biggest question of them all: How to fix the tower, or at least keep it from leaning even more?\u003c/p>\n\u003cp>Some solutions include pouring a concrete collar around the foundation or building a buttress.\u003c/p>\n\u003cp>Buttery, who is 76, says so much for her peaceful retirement.\u003c/p>\n\u003cp>“I’ve moved on into depression about it,” she says. “So it’s a gloomy feeling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even her favorite pastime — putting golf balls — doesn’t give her the same joy it once did. No matter which way she hits them, they all end up in the same corner. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Francisco%27s+%27Leaning+Tower%27+Has+Residents+Fuming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/198407826/john-grant\" target=\"_blank\" rel=\"noopener\">John Grant\u003c/a> is not your run-of-the-mill singer-songwriter. He’s a superstar overseas, but he’s relatively unknown in the U.S., where he was born. He lives in Iceland and speaks four languages. He’s openly gay. And he’s HIV positive, as well as a recovering alcoholic and drug addict.\u003c/p>\n\u003cp>Grant’s journey from obscurity in Buchanan, Mich. to playing sold-out gigs at London’s Royal Albert Hall started in the 1990s with his band The Czars, which released eight albums over 12 years. This was a big deal for Grant, who had come from a home where his parents were convinced he needed to be “fixed” because of his sexual orientation.\u003c/p>\n\u003cp>“When I was young, people were so disgusted by me,” Grant says. “Before I even knew that I was gay … everybody else had it figured out and, you know, they were letting you know.”\u003c/p>\n\u003cp>Even as The Czars gained critical acclaim, Grant submerged self-hatred, dysfunctional relationships and anxiety in an oblivion of alcohol and drugs. “I spent a lot of time caring, and it drove me to really just try and annihilate my brain,” he says. “I just felt that I was going to fall apart if I didn’t learn to be myself.”\u003c/p>\n\u003cp>The Czars split. Grant stopped drinking, and he stopped making music for a couple of years of recovery. He says he began to find the courage to bring out his whole self through his first two solo records. He sang about being HIV positive, and railed against a bad boyfriend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, Grant realized he was dealing with severe depression. “Sometimes I still can’t believe how much it can beat me down,” he says.\u003c/p>\n\u003cp>BBC 6 Music Presenter Mary Anne Hobbs says Grant’s songs can be painfully self-aware. “Most songwriting, even if it’s based on a true story … is embellished in some way,” she says. “But John’s lyrics — they’re so true they might as well be written in blood.”\u003c/p>\n\u003cp>Grant says people close to him have questioned whether it’s good to expose so much of himself, but he says he enjoys performing intensely personal music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nL3f9fAAUq4\u003c/p>\n\u003cp>“Sometimes, you might be feeling like you’re dredging things up, but that isn’t usually what’s happening,” he says. “Usually, you sort of dealt with it and went through it when you wrote the song. And then when you perform it, there’s just the joy of connecting with people.”\u003c/p>\n\u003cp>Pioneering singer and broadcaster Tom Robinson was one of the first rockers to come out as gay and mix music with LGBTQ liberation. He says Grant’s 2015 record, \u003cem>Grey Tickles, Black Pressure,\u003c/em> exudes a powerful confidence.\u003c/p>\n\u003cp>“If I had heard a song like ‘Snug Slacks’ when I was a gay teenager in the ’60s, I think he could have saved me 10 or 15 years of heartache and pain,” Robinson says. “It’s so great to hear somebody making music this unashamed and yet this irresistible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant says he wants listeners to hear the fun in his music, because that’s a part of him, too. “I want it to be a mixture of pain and laughter,” he says, “which is a good representation of what life is like.” \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=For+John+Grant%2C+There%27s+Power+In+The+Personal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/198407826/john-grant\" target=\"_blank\" rel=\"noopener\">John Grant\u003c/a> is not your run-of-the-mill singer-songwriter. He’s a superstar overseas, but he’s relatively unknown in the U.S., where he was born. He lives in Iceland and speaks four languages. He’s openly gay. And he’s HIV positive, as well as a recovering alcoholic and drug addict.\u003c/p>\n\u003cp>Grant’s journey from obscurity in Buchanan, Mich. to playing sold-out gigs at London’s Royal Albert Hall started in the 1990s with his band The Czars, which released eight albums over 12 years. This was a big deal for Grant, who had come from a home where his parents were convinced he needed to be “fixed” because of his sexual orientation.\u003c/p>\n\u003cp>“When I was young, people were so disgusted by me,” Grant says. “Before I even knew that I was gay … everybody else had it figured out and, you know, they were letting you know.”\u003c/p>\n\u003cp>Even as The Czars gained critical acclaim, Grant submerged self-hatred, dysfunctional relationships and anxiety in an oblivion of alcohol and drugs. “I spent a lot of time caring, and it drove me to really just try and annihilate my brain,” he says. “I just felt that I was going to fall apart if I didn’t learn to be myself.”\u003c/p>\n\u003cp>The Czars split. Grant stopped drinking, and he stopped making music for a couple of years of recovery. He says he began to find the courage to bring out his whole self through his first two solo records. He sang about being HIV positive, and railed against a bad boyfriend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Grant realized he was dealing with severe depression. “Sometimes I still can’t believe how much it can beat me down,” he says.\u003c/p>\n\u003cp>BBC 6 Music Presenter Mary Anne Hobbs says Grant’s songs can be painfully self-aware. “Most songwriting, even if it’s based on a true story … is embellished in some way,” she says. “But John’s lyrics — they’re so true they might as well be written in blood.”\u003c/p>\n\u003cp>Grant says people close to him have questioned whether it’s good to expose so much of himself, but he says he enjoys performing intensely personal music.\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/nL3f9fAAUq4'\n title='//www.youtube.com/embed/nL3f9fAAUq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Sometimes, you might be feeling like you’re dredging things up, but that isn’t usually what’s happening,” he says. “Usually, you sort of dealt with it and went through it when you wrote the song. And then when you perform it, there’s just the joy of connecting with people.”\u003c/p>\n\u003cp>Pioneering singer and broadcaster Tom Robinson was one of the first rockers to come out as gay and mix music with LGBTQ liberation. He says Grant’s 2015 record, \u003cem>Grey Tickles, Black Pressure,\u003c/em> exudes a powerful confidence.\u003c/p>\n\u003cp>“If I had heard a song like ‘Snug Slacks’ when I was a gay teenager in the ’60s, I think he could have saved me 10 or 15 years of heartache and pain,” Robinson says. “It’s so great to hear somebody making music this unashamed and yet this irresistible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant says he wants listeners to hear the fun in his music, because that’s a part of him, too. “I want it to be a mixture of pain and laughter,” he says, “which is a good representation of what life is like.” \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=For+John+Grant%2C+There%27s+Power+In+The+Personal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "how-one-video-game-unflinchingly-tackles-racism-with-history-and-raw-interactions",
"title": "How One Video Game Unflinchingly Tackles Racism With History And Raw Interactions",
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"content": "\u003cp>It’s 1968 in New Bordeaux, La. On the surface all looks tranquil as you drive through the bustling city in your red Pontiac, tapping your foot to Sam Cooke’s “Chain Gang.”\u003c/p>\n\u003cp>But as you take a sharp left down a winding back alley, an alarming sight gives you pause. Behind you, trucks painted with the Confederate flag begin to appear, the white men behind the wheel angry and visceral as they shout racial slurs.\u003c/p>\n\u003cp>Your name is Lincoln Clay. You’re a 23-year-old biracial man — but in this place, this time, you’re black, and instances of racism and bigotry are commonplace.\u003c/p>\n\u003cp>This is Mafia III, an action-adventure \u003ca href=\"https://mafiagame.com/\">video game\u003c/a> developed by Hangar 13 and published by 2K Games.\u003c/p>\n\u003cp>It’s a game that, in a lot of ways, meticulously adopts and adapts from the racial and political history of the era. And it’s \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2016/10/27/mafia-3-review-a-cultural-milestone/?utm_term=.f310c55f56af\" target=\"_blank\" rel=\"noopener\">become\u003c/a> a provocative and in some ways \u003ca href=\"https://www.theguardian.com/commentisfree/2016/oct/20/mafia-iii-videogame-racism\" target=\"_blank\" rel=\"noopener\">cathartic\u003c/a> alternate reality that directly confronts gamers of all walks of life with the reimagined raw trials of a protagonist rarely featured by the industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The game’s authentic use of past racial tensions isn’t the crux of the plot — its premise is similar to other \u003ca href=\"http://mafiagame.wikia.com/wiki/Mafia_Wiki\" target=\"_blank\" rel=\"noopener\">Mafia\u003c/a> games, in which a protagonist goes up against the mob. But their presentation is heavy and deliberate. Senior writer Charles Webb says the creators wanted to spark players’ consciousness without overindulging in a history lesson.\u003c/p>\n\u003cfigure id=\"attachment_12574677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png\" alt=\""One of the reasons why I came to 2K was because they're not afraid to take these kind of creative risks," says Mafia III creative director Haden Blackman.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“One of the reasons why I came to 2K was because they’re not afraid to take these kind of creative risks,” says Mafia III creative director Haden Blackman. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I’m really, really proud of is we’ve kind of created this game of empathy,” Webb says. “This is what it was like to occupy this space, as this particular type of person, as a young black man in 1968 in the South.”\u003c/p>\n\u003cp>\u003cstrong>Grounded in history\u003c/strong>\u003c/p>\n\u003cp>As you drive throughout the city or make a pit stop for some quick cash, music of the era — Nina Simone or Janis Joplin — keeps you company. News broadcasts reflect the period, announcing tragedies like the assassination of Dr. Martin Luther King Jr. or the arrests of Freedom Riders.\u003c/p>\n\u003cp>“We attached ourselves to this idea of the documentary. It gets you to think about how have things changed, if at all,” says Creative Director Haden Blackman.\u003c/p>\n\u003cp>The writers say they did extensive research, studying films, documentaries and literature, including \u003cem>The Trials of Muhammad Ali\u003c/em>; \u003cem>The Black Power Mixtape 1967-1975; \u003c/em>the James Baldwin debates with William F. Buckley from 1965; and \u003cem>Matterhorn: A Novel of the Vietnam War. \u003c/em>The writers cited “The Ballot or the Bullet,” speech from April of ’64 by Malcolm X as a primary influence.\u003c/p>\n\u003cp>An invisible character by the name of “The Voice” delivers evidence of this research: As a radio personality, he often speaks directly to the player, providing critical commentary and analysis of the prejudice and injustices within this reimagined narrative.\u003c/p>\n\u003cp>“Being able to have him as this ‘voice of the people’ in the city, especially of the marginalized, specifically black community, at the time — it’s one of those things that really helps tie things together,” says Senior Writer Ed Fowler. “The way that it evokes the time and still resonates today speaks to many things, just in general in our world right now.”\u003c/p>\n\u003cp>\u003cstrong>‘Scared as all get-out’\u003c/strong>\u003c/p>\n\u003cp>With so much history involved, the team admits the game’s subject matter can be, at times, grueling and potent.\u003c/p>\n\u003cp>As Clay, you go on a mission to dismantle the Ku Klux Klan and confront other white supremacists groups on numerous side quests. You hear racial slurs and witness hateful acts against African-Americans. The police watch you — always.\u003c/p>\n\u003cfigure id=\"attachment_12574678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png\" alt=\"Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The game’s open world is abundant but you, the player, are not welcome in every aspect of its landscape, simply on the basis that you are you. The ambiance of bigotry — quiet or bombastic — is consistent, whether in hateful glances when you walk through areas reserved for “whites only” or the seemingly increased police presence when you stroll through predominantly white suburbs.\u003c/p>\n\u003cp>The team knew the game had the potential to be polarizing.\u003c/p>\n\u003cp>“I was definitely scared, scared as all get-out,” Webb says. “It was very important to our team as a whole to hammer home to be authentic and true to the period, and that’s a fine line … not only respecting how hostile this space might be toward Lincoln but also figuring out ways to not make it completely repellent to the player.”\u003c/p>\n\u003cp>It all appears to have worked, as Mafia III \u003ca href=\"http://www.ign.com/articles/2016/11/02/mafia-3-shipped-45-million-copies-in-first-week-fastest-selling-in-2k-games-history\" target=\"_blank\" rel=\"noopener\">became the fastest-selling title\u003c/a> by 2K Games, with more than 4 million units shipped in the first week.\u003c/p>\n\u003cp>But despite the game’s positive reception, some reviewers have argued that its excessive and chaotic violence overshadows the abuse black and brown people experienced during the era, as \u003cem>The Verge\u003c/em>‘s Chris Plante \u003ca href=\"http://www.theverge.com/2016/10/13/13263008/mafia-3-racism-shooter-opinion\" target=\"_blank\" rel=\"noopener\">has argued\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A black man lynching a white man in the American South in 1968 is an arresting image, except its power is undercut by the game’s pace. It takes no time to unpack what we’re seeing, let alone acknowledge that, below the hanging man, fester dozens of other men murdered by Lincoln Clay.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Female representation\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12574877\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/cassandra_wide.png\" alt=\"Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay's narrative.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay’s narrative. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mafia III inches away from the familiar tropes of shoot-’em-up games. One of them is the poor depiction of women, who are often heavily sexualized or subservient to the male protagonist.\u003c/p>\n\u003cp>In Mafia III, women hold their own and serve more than just atmosphere, which Webb says was a deliberate move. There’s Cassandra, the head of the Haitian mob; then Alma Diaz, who runs smuggling operations; and Nicki Burke, a lieutenant in the Irish mob.\u003c/p>\n\u003cp>And then there’s the inner circle of Clay’s friends and family, most of whom are black and help shape the narrative. This batch of characters joins a small group of other individuals of color from recent major games: Marcus Holloway from Watch Dogs 2\u003cem>,\u003c/em> antagonist Nadine Ross from Uncharted 4 and Lee Everett from The Walking Dead Telltale games universe and others.\u003c/p>\n\u003cp>Yet, many groups remain highly underrepresented in the gaming industry, which has faced criticism, for instance, not only for the \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2014/06/13/321673815/critics-renew-calls-for-more-diverse-video-game-characters\" target=\"_blank\" rel=\"noopener\">rarity of protagonists of color\u003c/a>, but also for their voices being performed by white voice actors.\u003c/p>\n\u003cp>A \u003ca href=\"http://journals.sagepub.com/doi/pdf/10.1177/1461444809105354\" target=\"_blank\" rel=\"noopener\">2009 study\u003c/a> found that Latinos were virtually unrepresented as playable characters, while African-Americans were largely featured in sports games or similar titles that reinforce stereotypes.\u003c/p>\n\u003cfigure id=\"attachment_12574879\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png\" alt=\"Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A possible harbinger?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://doinginnovation.org/\" target=\"_blank\" rel=\"noopener\">S. Craig Watkins\u003c/a>, a professor at the University of Texas at Austin, says the tech industry is commonly under fire for its lack of diversity, while the video game industry hasn’t been held “nearly as accountable.”\u003c/p>\n\u003cp>The vast majority of game developers are white — the results of a \u003ca href=\"https://c.ymcdn.com/sites/www.igda.org/resource/collection/CB31CE86-F8EE-4AE3-B46A-148490336605/IGDA%20DSS%202015-SummaryReport_Final_Sept15.pdf\" target=\"_blank\" rel=\"noopener\">2015 survey\u003c/a> by the International Game Developers Association suggest that only about 3 percent of video-game makers are African American and 7 percent are Latino. Meanwhile, \u003ca href=\"http://www.northwestern.edu/newscenter/stories/2011/06/media-usa-youth-wartella.html\" target=\"_blank\" rel=\"noopener\">several studies\u003c/a> \u003ca href=\"http://kff.org/other/report/generation-m2-media-in-the-lives-of-8-to-18-year-olds/\" target=\"_blank\" rel=\"noopener\">have found\u003c/a> that black and Latino children and teenagers spend more time per day playing video games.\u003c/p>\n\u003cp>“The statistics are shifting and telling us that who plays games is no longer this imagined idea of the white straight able-bodied adolescent male who is at home in their parents’ basement,” says \u003ca href=\"http://www.edmondchang.com/\">Edmond Chang\u003c/a>, a visiting assistant professor at the University of Oregon. “The industry has really failed in certain ways to catch up.”\u003c/p>\n\u003cp>Watkins says Mafia III could be a harbinger for the industry. “The idea that a studio would even consider investing the resources, the time, the human capital to develop a game like Mafia III,” he says, “that’s a really interesting approach to what the gaming world and experience might look like.”\u003c/p>\n\u003cp>And Blackman, the creative director, says he’s proud of the game sparking important dialogue.\u003c/p>\n\u003cp>“We’re not so naive as to think that a single game could cure racism — and that was never our intent,” Blackman says. “But at the end of the day, if we make people think about race and we make people think about what’s happening today, I think we’ve done something that very few games have done.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Iman Smith is a freelance reporter. You can follow her on Twitter at \u003c/em>\u003ca href=\"https://twitter.com/ImanThePress\">@ImanThePress\u003c/a>\u003cem>.\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=How+One+Video+Game+Unflinchingly+Tackles+Racism+With+History+And+Raw+Interactions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Creators of Mafia III, set in a fictionalized Louisiana, took a documentary approach to confronting players with prejudice and bigotry of the 1960s South from the perspective of a black protagonist.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 1968 in New Bordeaux, La. On the surface all looks tranquil as you drive through the bustling city in your red Pontiac, tapping your foot to Sam Cooke’s “Chain Gang.”\u003c/p>\n\u003cp>But as you take a sharp left down a winding back alley, an alarming sight gives you pause. Behind you, trucks painted with the Confederate flag begin to appear, the white men behind the wheel angry and visceral as they shout racial slurs.\u003c/p>\n\u003cp>Your name is Lincoln Clay. You’re a 23-year-old biracial man — but in this place, this time, you’re black, and instances of racism and bigotry are commonplace.\u003c/p>\n\u003cp>This is Mafia III, an action-adventure \u003ca href=\"https://mafiagame.com/\">video game\u003c/a> developed by Hangar 13 and published by 2K Games.\u003c/p>\n\u003cp>It’s a game that, in a lot of ways, meticulously adopts and adapts from the racial and political history of the era. And it’s \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2016/10/27/mafia-3-review-a-cultural-milestone/?utm_term=.f310c55f56af\" target=\"_blank\" rel=\"noopener\">become\u003c/a> a provocative and in some ways \u003ca href=\"https://www.theguardian.com/commentisfree/2016/oct/20/mafia-iii-videogame-racism\" target=\"_blank\" rel=\"noopener\">cathartic\u003c/a> alternate reality that directly confronts gamers of all walks of life with the reimagined raw trials of a protagonist rarely featured by the industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The game’s authentic use of past racial tensions isn’t the crux of the plot — its premise is similar to other \u003ca href=\"http://mafiagame.wikia.com/wiki/Mafia_Wiki\" target=\"_blank\" rel=\"noopener\">Mafia\u003c/a> games, in which a protagonist goes up against the mob. But their presentation is heavy and deliberate. Senior writer Charles Webb says the creators wanted to spark players’ consciousness without overindulging in a history lesson.\u003c/p>\n\u003cfigure id=\"attachment_12574677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png\" alt=\""One of the reasons why I came to 2K was because they're not afraid to take these kind of creative risks," says Mafia III creative director Haden Blackman.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“One of the reasons why I came to 2K was because they’re not afraid to take these kind of creative risks,” says Mafia III creative director Haden Blackman. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I’m really, really proud of is we’ve kind of created this game of empathy,” Webb says. “This is what it was like to occupy this space, as this particular type of person, as a young black man in 1968 in the South.”\u003c/p>\n\u003cp>\u003cstrong>Grounded in history\u003c/strong>\u003c/p>\n\u003cp>As you drive throughout the city or make a pit stop for some quick cash, music of the era — Nina Simone or Janis Joplin — keeps you company. News broadcasts reflect the period, announcing tragedies like the assassination of Dr. Martin Luther King Jr. or the arrests of Freedom Riders.\u003c/p>\n\u003cp>“We attached ourselves to this idea of the documentary. It gets you to think about how have things changed, if at all,” says Creative Director Haden Blackman.\u003c/p>\n\u003cp>The writers say they did extensive research, studying films, documentaries and literature, including \u003cem>The Trials of Muhammad Ali\u003c/em>; \u003cem>The Black Power Mixtape 1967-1975; \u003c/em>the James Baldwin debates with William F. Buckley from 1965; and \u003cem>Matterhorn: A Novel of the Vietnam War. \u003c/em>The writers cited “The Ballot or the Bullet,” speech from April of ’64 by Malcolm X as a primary influence.\u003c/p>\n\u003cp>An invisible character by the name of “The Voice” delivers evidence of this research: As a radio personality, he often speaks directly to the player, providing critical commentary and analysis of the prejudice and injustices within this reimagined narrative.\u003c/p>\n\u003cp>“Being able to have him as this ‘voice of the people’ in the city, especially of the marginalized, specifically black community, at the time — it’s one of those things that really helps tie things together,” says Senior Writer Ed Fowler. “The way that it evokes the time and still resonates today speaks to many things, just in general in our world right now.”\u003c/p>\n\u003cp>\u003cstrong>‘Scared as all get-out’\u003c/strong>\u003c/p>\n\u003cp>With so much history involved, the team admits the game’s subject matter can be, at times, grueling and potent.\u003c/p>\n\u003cp>As Clay, you go on a mission to dismantle the Ku Klux Klan and confront other white supremacists groups on numerous side quests. You hear racial slurs and witness hateful acts against African-Americans. The police watch you — always.\u003c/p>\n\u003cfigure id=\"attachment_12574678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png\" alt=\"Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The game’s open world is abundant but you, the player, are not welcome in every aspect of its landscape, simply on the basis that you are you. The ambiance of bigotry — quiet or bombastic — is consistent, whether in hateful glances when you walk through areas reserved for “whites only” or the seemingly increased police presence when you stroll through predominantly white suburbs.\u003c/p>\n\u003cp>The team knew the game had the potential to be polarizing.\u003c/p>\n\u003cp>“I was definitely scared, scared as all get-out,” Webb says. “It was very important to our team as a whole to hammer home to be authentic and true to the period, and that’s a fine line … not only respecting how hostile this space might be toward Lincoln but also figuring out ways to not make it completely repellent to the player.”\u003c/p>\n\u003cp>It all appears to have worked, as Mafia III \u003ca href=\"http://www.ign.com/articles/2016/11/02/mafia-3-shipped-45-million-copies-in-first-week-fastest-selling-in-2k-games-history\" target=\"_blank\" rel=\"noopener\">became the fastest-selling title\u003c/a> by 2K Games, with more than 4 million units shipped in the first week.\u003c/p>\n\u003cp>But despite the game’s positive reception, some reviewers have argued that its excessive and chaotic violence overshadows the abuse black and brown people experienced during the era, as \u003cem>The Verge\u003c/em>‘s Chris Plante \u003ca href=\"http://www.theverge.com/2016/10/13/13263008/mafia-3-racism-shooter-opinion\" target=\"_blank\" rel=\"noopener\">has argued\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A black man lynching a white man in the American South in 1968 is an arresting image, except its power is undercut by the game’s pace. It takes no time to unpack what we’re seeing, let alone acknowledge that, below the hanging man, fester dozens of other men murdered by Lincoln Clay.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Female representation\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12574877\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/cassandra_wide.png\" alt=\"Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay's narrative.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay’s narrative. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mafia III inches away from the familiar tropes of shoot-’em-up games. One of them is the poor depiction of women, who are often heavily sexualized or subservient to the male protagonist.\u003c/p>\n\u003cp>In Mafia III, women hold their own and serve more than just atmosphere, which Webb says was a deliberate move. There’s Cassandra, the head of the Haitian mob; then Alma Diaz, who runs smuggling operations; and Nicki Burke, a lieutenant in the Irish mob.\u003c/p>\n\u003cp>And then there’s the inner circle of Clay’s friends and family, most of whom are black and help shape the narrative. This batch of characters joins a small group of other individuals of color from recent major games: Marcus Holloway from Watch Dogs 2\u003cem>,\u003c/em> antagonist Nadine Ross from Uncharted 4 and Lee Everett from The Walking Dead Telltale games universe and others.\u003c/p>\n\u003cp>Yet, many groups remain highly underrepresented in the gaming industry, which has faced criticism, for instance, not only for the \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2014/06/13/321673815/critics-renew-calls-for-more-diverse-video-game-characters\" target=\"_blank\" rel=\"noopener\">rarity of protagonists of color\u003c/a>, but also for their voices being performed by white voice actors.\u003c/p>\n\u003cp>A \u003ca href=\"http://journals.sagepub.com/doi/pdf/10.1177/1461444809105354\" target=\"_blank\" rel=\"noopener\">2009 study\u003c/a> found that Latinos were virtually unrepresented as playable characters, while African-Americans were largely featured in sports games or similar titles that reinforce stereotypes.\u003c/p>\n\u003cfigure id=\"attachment_12574879\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png\" alt=\"Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A possible harbinger?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://doinginnovation.org/\" target=\"_blank\" rel=\"noopener\">S. Craig Watkins\u003c/a>, a professor at the University of Texas at Austin, says the tech industry is commonly under fire for its lack of diversity, while the video game industry hasn’t been held “nearly as accountable.”\u003c/p>\n\u003cp>The vast majority of game developers are white — the results of a \u003ca href=\"https://c.ymcdn.com/sites/www.igda.org/resource/collection/CB31CE86-F8EE-4AE3-B46A-148490336605/IGDA%20DSS%202015-SummaryReport_Final_Sept15.pdf\" target=\"_blank\" rel=\"noopener\">2015 survey\u003c/a> by the International Game Developers Association suggest that only about 3 percent of video-game makers are African American and 7 percent are Latino. Meanwhile, \u003ca href=\"http://www.northwestern.edu/newscenter/stories/2011/06/media-usa-youth-wartella.html\" target=\"_blank\" rel=\"noopener\">several studies\u003c/a> \u003ca href=\"http://kff.org/other/report/generation-m2-media-in-the-lives-of-8-to-18-year-olds/\" target=\"_blank\" rel=\"noopener\">have found\u003c/a> that black and Latino children and teenagers spend more time per day playing video games.\u003c/p>\n\u003cp>“The statistics are shifting and telling us that who plays games is no longer this imagined idea of the white straight able-bodied adolescent male who is at home in their parents’ basement,” says \u003ca href=\"http://www.edmondchang.com/\">Edmond Chang\u003c/a>, a visiting assistant professor at the University of Oregon. “The industry has really failed in certain ways to catch up.”\u003c/p>\n\u003cp>Watkins says Mafia III could be a harbinger for the industry. “The idea that a studio would even consider investing the resources, the time, the human capital to develop a game like Mafia III,” he says, “that’s a really interesting approach to what the gaming world and experience might look like.”\u003c/p>\n\u003cp>And Blackman, the creative director, says he’s proud of the game sparking important dialogue.\u003c/p>\n\u003cp>“We’re not so naive as to think that a single game could cure racism — and that was never our intent,” Blackman says. “But at the end of the day, if we make people think about race and we make people think about what’s happening today, I think we’ve done something that very few games have done.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Iman Smith is a freelance reporter. You can follow her on Twitter at \u003c/em>\u003ca href=\"https://twitter.com/ImanThePress\">@ImanThePress\u003c/a>\u003cem>.\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=How+One+Video+Game+Unflinchingly+Tackles+Racism+With+History+And+Raw+Interactions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ben Johnston doesn’t follow the rules of music. Sure, he’s got degrees from two colleges and a conservatory. But from an early age, Johnston heard music differently. When he was growing up in Georgia, he questioned the standard scales he was taught in school. “I played by ear and I invented my own chords,” he says.\u003c/p>\n\u003cp>In Western music, we’re taught that there are set notes in scales, but there is actually an infinite number of pitches in between those notes. They’re called microtones, and those are the notes Johnston likes to work with.\u003c/p>\n\u003cp>“String Quartet No. 4,” Johnston’s take on “Amazing Grace,” is probably his best-known and most-performed work. At his home in Madison, Wis., surrounded by a flock of peacocks and a herd of barn cats, the 90-year-old composer says the work has its roots in his childhood, in slavery and in his desire to hear what the song might have sounded like if Beethoven had covered it late in his career.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ReHIe0WDvNs\u003c/p>\n\u003cp>It was actually Johnston’s love of the Glenn Miller Orchestra and Broadway show tunes that made him want to be a composer. Then, during World War II, he heard \u003ca href=\"http://www.npr.org/artists/136362007/stan-kenton\" target=\"_blank\" rel=\"noopener\">Stan Kenton’s\u003c/a> band. “It was the first time I heard real jazz improvisation,” Johnston says. “Immediately, I could get it by ear. It changed my whole approach to harmony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the war, he apprenticed with the iconoclastic American composer and instrument-maker Harry Partch and studied with composers Darius Milhaud and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. All of them encouraged him to follow his own path.\u003c/p>\n\u003cp>Johnston later became a mentor himself — he taught at the University of Illinois for over three decades. Composer Larry Polansky, who studied under Johnston there, says Johnston’s work is groundbreaking and necessary. “We need Jackson Pollock, we need John Ashbery, we need James Joyce and we need Ben Johnston,” he says, “because they do question something that generally goes unquestioned.”\u003c/p>\n\u003cp>Polansky, who went on to become a professor himself, says Johnston taught him there was more to music than the standard Western scale. “To enforce and entrain a very specific set of pitches and reify them as somehow natural … just doesn’t make any sense,” he says.\u003c/p>\n\u003cp>Johnston has used all of the notes he can wrangle in dance music, percussion pieces and orchestral work, but he spent the bulk of his career — almost four decades — composing 10 unique string quartets. Johnston, who celebrated his 90th birthday this year, recently received a special present: the completion of a more than decade-long effort to record them all.\u003c/p>\n\u003cp>The Kepler Quartet formed in 2002 with the specific intention to record these compositions — and it took 14 years of rehearsing and recording to get them all down. Eric Segnitz, the group’s second violinist, says the rehearsal process required both learning and unlearning. “There was a fair amount of invention and learning curve and getting rid of any preconception of what a chord actually sounds like,” he says.\u003c/p>\n\u003cp>Segnitz says what struck him even more than the complexity of the music was the way Johnston has never veered from his vision. “There are all sorts of pressures on modern composers to reach an audience, to be popular — it’s like high school, basically,” he says. “So the fact that someone has cut through all that is very meaningful.”\u003c/p>\n\u003cp>That doesn’t mean the composer can’t be playful. In his “String Quartet No. 10,” Johnston subtly teases a traditional tune through four movements. “You build up this enormous expectation until finally you get to the end and … we reveal the tune,” he says. “It turns out to be ‘Danny Boy!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnston now wants musicians to take his ideas into the future. He sees his string quartets as a foundation, and he wants others to build upon his tunings — and keep making what he calls the “sounds that people never thought they wanted to hear.” \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=Ben+Johnston+Hears+The+Notes+Between+The+Notes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ben Johnston doesn’t follow the rules of music. Sure, he’s got degrees from two colleges and a conservatory. But from an early age, Johnston heard music differently. When he was growing up in Georgia, he questioned the standard scales he was taught in school. “I played by ear and I invented my own chords,” he says.\u003c/p>\n\u003cp>In Western music, we’re taught that there are set notes in scales, but there is actually an infinite number of pitches in between those notes. They’re called microtones, and those are the notes Johnston likes to work with.\u003c/p>\n\u003cp>“String Quartet No. 4,” Johnston’s take on “Amazing Grace,” is probably his best-known and most-performed work. At his home in Madison, Wis., surrounded by a flock of peacocks and a herd of barn cats, the 90-year-old composer says the work has its roots in his childhood, in slavery and in his desire to hear what the song might have sounded like if Beethoven had covered it late in his career.\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/ReHIe0WDvNs'\n title='//www.youtube.com/embed/ReHIe0WDvNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was actually Johnston’s love of the Glenn Miller Orchestra and Broadway show tunes that made him want to be a composer. Then, during World War II, he heard \u003ca href=\"http://www.npr.org/artists/136362007/stan-kenton\" target=\"_blank\" rel=\"noopener\">Stan Kenton’s\u003c/a> band. “It was the first time I heard real jazz improvisation,” Johnston says. “Immediately, I could get it by ear. It changed my whole approach to harmony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the war, he apprenticed with the iconoclastic American composer and instrument-maker Harry Partch and studied with composers Darius Milhaud and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. All of them encouraged him to follow his own path.\u003c/p>\n\u003cp>Johnston later became a mentor himself — he taught at the University of Illinois for over three decades. Composer Larry Polansky, who studied under Johnston there, says Johnston’s work is groundbreaking and necessary. “We need Jackson Pollock, we need John Ashbery, we need James Joyce and we need Ben Johnston,” he says, “because they do question something that generally goes unquestioned.”\u003c/p>\n\u003cp>Polansky, who went on to become a professor himself, says Johnston taught him there was more to music than the standard Western scale. “To enforce and entrain a very specific set of pitches and reify them as somehow natural … just doesn’t make any sense,” he says.\u003c/p>\n\u003cp>Johnston has used all of the notes he can wrangle in dance music, percussion pieces and orchestral work, but he spent the bulk of his career — almost four decades — composing 10 unique string quartets. Johnston, who celebrated his 90th birthday this year, recently received a special present: the completion of a more than decade-long effort to record them all.\u003c/p>\n\u003cp>The Kepler Quartet formed in 2002 with the specific intention to record these compositions — and it took 14 years of rehearsing and recording to get them all down. Eric Segnitz, the group’s second violinist, says the rehearsal process required both learning and unlearning. “There was a fair amount of invention and learning curve and getting rid of any preconception of what a chord actually sounds like,” he says.\u003c/p>\n\u003cp>Segnitz says what struck him even more than the complexity of the music was the way Johnston has never veered from his vision. “There are all sorts of pressures on modern composers to reach an audience, to be popular — it’s like high school, basically,” he says. “So the fact that someone has cut through all that is very meaningful.”\u003c/p>\n\u003cp>That doesn’t mean the composer can’t be playful. In his “String Quartet No. 10,” Johnston subtly teases a traditional tune through four movements. “You build up this enormous expectation until finally you get to the end and … we reveal the tune,” he says. “It turns out to be ‘Danny Boy!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnston now wants musicians to take his ideas into the future. He sees his string quartets as a foundation, and he wants others to build upon his tunings — and keep making what he calls the “sounds that people never thought they wanted to hear.” \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=Ben+Johnston+Hears+The+Notes+Between+The+Notes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carrie Fisher, the actress who became a pop culture icon for her performance as Princess Leia in \u003cem>Star Wars, \u003c/em>has died at age 60.\u003c/p>\n\u003cp>Fisher had suffered a massive heart attack last week on a flight from London to Los Angeles. On Sunday, her family said she was in stable condition.\u003c/p>\n\u003cp>[contextly_sidebar id=”HdET9py3QPXa92bYSG2wy8sT9dwsMWbT”]\u003c/p>\n\u003cp>A representative of Fisher’s daughter, Bille Lourd, confirmed that Fisher died on Tuesday morning.\u003c/p>\n\u003cp>Fisher shot to fame at the age of 19, when she took on her instantly iconic role in \u003cem>Star Wars. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Leia Organa, she seemed to be taking on the role of damsel in distress — appearing as a hologram begging for help. But she was no helpless heroine: Princess Leia was an indomitable, independent rebel leader.\u003c/p>\n\u003cp>When the \u003cem>Star Wars \u003c/em>franchise returned last year in \u003cem>The Force Awakens, \u003c/em>Fisher’s role reflected the strength she’d always given her character: Princess Leia was now General Organa.\u003c/p>\n\u003cp>But it was her appearance in the original films that cemented Fisher’s status as a pop culture icon. Her legendary role came with instantly-recognizable outfits: Those cinnamon-roll braids; that drapey white dress; and, of course, that famous gold bikini.\u003c/p>\n\u003cp>A few weeks ago, she spoke with Terry Gross about that uncomfortable-looking out she wore while Princess Leia was enslaved by Jabba the Hutt in \u003cem>Return of the Jedi.\u003c/em>\u003c/p>\n\u003cp>“Nearly naked” was not her preferred aesthetic, she said. “It wasn’t my choice … it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight.\u003c/p>\n\u003cp>“What redeems it is I get to kill him, which was so enjoyable. … I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn’t wait to kill him.”\u003c/p>\n\u003cp>In the popular imagination, Fisher was inextricably tied to that most famous role. But her life, of course, was much larger.\u003c/p>\n\u003cp>She was a writer of both memoirs and novels — her first book, the semi-autobiographical \u003cem>Postcards from the Edge, \u003c/em>was a bit of both. \u003c/p>\n\u003cp>Carrie Fisher shared her approach to life in her 2008 HBO special \u003cem>Wishful Drinking.\u003c/em>\u003c/p>\n\u003cp>“Let’s say something happens, right, and from a certain slant maybe it’s tragic, even a little bit shocking,” she said. “And then time passes, and you go to the funny slant, and now that very same thing can no longer do you any harm.”\u003c/p>\n\u003cp>As Andrew reports, Fisher lived by that wisdom.\u003c/p>\n\u003cp>“She was born in 1956 to two huge stars — the singer Eddie Fisher and award winning actress Debbie Reynolds,” Andrew says. “From a certain slant being born to two famous people — who ended up famously divorcing — can be tragic. Time passes, and it has to be funny.”\u003c/p>\n\u003cp>Fisher was “out and open about her issues with drugs and alcohol, and mental illness and treatment,” Andrew notes. “She told NPR’s \u003cem>Fresh Air\u003c/em> that getting all of this out there and speaking about the baggage was a way for her to understand herself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It creates community when you talk about private things and you can find other people that have the same things,” Fisher told Terry Gross. “Otherwise I felt very lonely with some of the issues that I had.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Carrie+Fisher%2C+Actress+Beloved+For+Playing+Princess+Leia%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Leia Organa, she seemed to be taking on the role of damsel in distress — appearing as a hologram begging for help. But she was no helpless heroine: Princess Leia was an indomitable, independent rebel leader.\u003c/p>\n\u003cp>When the \u003cem>Star Wars \u003c/em>franchise returned last year in \u003cem>The Force Awakens, \u003c/em>Fisher’s role reflected the strength she’d always given her character: Princess Leia was now General Organa.\u003c/p>\n\u003cp>But it was her appearance in the original films that cemented Fisher’s status as a pop culture icon. Her legendary role came with instantly-recognizable outfits: Those cinnamon-roll braids; that drapey white dress; and, of course, that famous gold bikini.\u003c/p>\n\u003cp>A few weeks ago, she spoke with Terry Gross about that uncomfortable-looking out she wore while Princess Leia was enslaved by Jabba the Hutt in \u003cem>Return of the Jedi.\u003c/em>\u003c/p>\n\u003cp>“Nearly naked” was not her preferred aesthetic, she said. “It wasn’t my choice … it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight.\u003c/p>\n\u003cp>“What redeems it is I get to kill him, which was so enjoyable. … I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn’t wait to kill him.”\u003c/p>\n\u003cp>In the popular imagination, Fisher was inextricably tied to that most famous role. But her life, of course, was much larger.\u003c/p>\n\u003cp>She was a writer of both memoirs and novels — her first book, the semi-autobiographical \u003cem>Postcards from the Edge, \u003c/em>was a bit of both. \u003c/p>\n\u003cp>Carrie Fisher shared her approach to life in her 2008 HBO special \u003cem>Wishful Drinking.\u003c/em>\u003c/p>\n\u003cp>“Let’s say something happens, right, and from a certain slant maybe it’s tragic, even a little bit shocking,” she said. “And then time passes, and you go to the funny slant, and now that very same thing can no longer do you any harm.”\u003c/p>\n\u003cp>As Andrew reports, Fisher lived by that wisdom.\u003c/p>\n\u003cp>“She was born in 1956 to two huge stars — the singer Eddie Fisher and award winning actress Debbie Reynolds,” Andrew says. “From a certain slant being born to two famous people — who ended up famously divorcing — can be tragic. Time passes, and it has to be funny.”\u003c/p>\n\u003cp>Fisher was “out and open about her issues with drugs and alcohol, and mental illness and treatment,” Andrew notes. “She told NPR’s \u003cem>Fresh Air\u003c/em> that getting all of this out there and speaking about the baggage was a way for her to understand herself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It creates community when you talk about private things and you can find other people that have the same things,” Fisher told Terry Gross. “Otherwise I felt very lonely with some of the issues that I had.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Carrie+Fisher%2C+Actress+Beloved+For+Playing+Princess+Leia%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fences': A Major American Play Finally Makes It To Screen; It Was Worth The Wait",
"headTitle": "‘Fences’: A Major American Play Finally Makes It To Screen; It Was Worth The Wait | KQED",
"content": "\u003cp>All his life, playwright August Wilson resisted any efforts to mount a screen adaptation of \u003cem>Fences\u003c/em>, his Pulitzer Prize-winning 1987 work, because he insisted it could only be helmed by a black director. Looking at the dynamics in the play, Wilson’s need to see a filmmaker understand them as he did was understandable. \u003cem>Fences\u003c/em> gives us a working-class black family in the 1950s, with particular focus on a father whose own rough go at life informs but doesn’t fully excuse his behavior in his own household. For it to work onscreen, a director needs to see this character as fully formed, not merely a product of his environment or a vehicle for sermonizing. We must see him as a man who bleeds, heavily, and often from self-inflicted wounds.\u003c/p>\n\u003cp>Eleven years after his 2005 death, Wilson finally gets his wish in perhaps the most widely acclaimed black actor of a generation. Denzel Washington is behind the chair, his third go-around as a director after \u003cem>Antwone Fisher\u003c/em> and \u003cem>The Great Debaters\u003c/em>. His approach is that of devoted student trying to learn from a long-gone mentor. Every choice he makes as a director here is designed to underline, rather than complement, the script, which is so faithful it bears only Wilson’s name.\u003c/p>\n\u003cp>https://youtu.be/spCxVd9ctFs\u003c/p>\n\u003cp>As he did onstage in the recent Broadway revival, Washington embodies the lead role of Troy, a former baseball player in the Negro League, now working as a garbage collector in Pittsburgh. (The character was originally portrayed on Broadway by James Earl Jones.) Troy and his dreams have had a hard time: after outrunning an abusive childhood and a troublemaking past for a shot at athletic glory, he aged out of his prime before Major League Baseball could integrate. Over the years, this has burrowed under Troy’s skin to the point where he becomes infuriated when someone suggests he was simply born at the wrong time: “There ought not never have been no time called too early!” he thunders, a passionate outburst that paints a life defined by prejudice and bad breaks. In that line we understand the central tragedy of Wilson’s play with remarkable clarity: the sense that a rising tide is leaving you behind, and the ways such a realization can undo even the sturdiest among us, even the ones who have wrestled with Death.\u003c/p>\n\u003cp>But the beauty of the play (and the film) lies not in its lessons but in the moral complexities of its characters, all of whom make compromises with each other and within themselves just to get through the days. Troy is emotionally manipulative to his two sons, channeling the pains of his workaday life to sour their dreams of escaping the same, and he confers upon himself the right to lie to his wife Rose (Viola Davis), who knows, deep down, that her onetime reasons for marrying this man are falling by the wayside. Over the course of a few months in their house, mostly in the backyard that is Troy’s domain and the kitchen that is Rose’s, we see some of these resentments from the past come to a head, be they through the man’s unfulfilled promises to erect a fence on the perimeter of their property or a far more insidious broken trust.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Washington has a charisma that leaves lesser performers quaking at his feet, and he’s justly celebrated as one of the few Capital-A Actors alive today. (Comedians W. Kamau Bell and Kevin Avery host a podcast called \u003cem>Denzel Washington Is The Greatest Actor Of All Time Period\u003c/em>, and it’s hard to argue.) In his baggy work pants and cap, with that devilish grin on his face challenging anyone who dares step to him, Washington’s Troy is a masterful construct of self-delusion, a man who can wrench sympathy from his stories even once we learn they’re not true. Opposite him, Davis demonstrates once again why she is such an essential artist, never wasting even a single moment of detail. She’s always juggling some kitchen prop or another, and builds more heartbreak for how matter-of-fact Rose’s predicament seems. She can unleash a moment of righteous indignation at a husband who’s taken her for granted several times too many — and still be bound to keep putting dinner on the table.\u003c/p>\n\u003cp>The supporting cast is uniformly excellent, as well. Jovan Adepo is tremendous as Troy’s younger son Cory, a football star who wants to play in college but must fight his father’s veiled efforts to hog the family sports glory for himself; when the two go toe-to-toe, with the father snarling that there’s no law on the books demanding he must like his son, it’s a Biblical standoff. Russell Hornsby, as Troy’s older son, and Stephen Henderson, as his best friend, have quieter roles but remind us that, in plays, there are no wasted parts — everyone who will eventually shine does better when they’ve spent their non-shiny moments fitting naturally into the environment. Fitting less naturally is Mykelti Williamson as Troy’s too-aptly-named brother Gabriel, who suffered a head injury in WWII and is now convinced he fights off the devil with his trumpet and “chases hellhounds” down the street. Gabriel is the one weak link in Wilson’s vision, a too-writerly expression of God’s tenuous presence in this world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Fences\u003c/em> is moviemaking as public service, like PBS’s Masterpiece Theater: an accessible adaptation of a necessary literary work that few will ever have the opportunity to see onstage. Washington keeps us entrenched in the claustrophobic house and declines to gussy things up with the cinematic flourishes we might expect. It’s a choice that will make serious film types fidgety, but the workmanlike approach is the best way to channel the simple power of the language itself, its repetitions and folksy rhythms, and the force of the message contained within. As such, it’s the approach Wilson was holding out for. They say in the film that fences can keep people out or keep people in, but for an adaptation like this, it’s best to have no fences at all. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All his life, playwright August Wilson resisted any efforts to mount a screen adaptation of \u003cem>Fences\u003c/em>, his Pulitzer Prize-winning 1987 work, because he insisted it could only be helmed by a black director. Looking at the dynamics in the play, Wilson’s need to see a filmmaker understand them as he did was understandable. \u003cem>Fences\u003c/em> gives us a working-class black family in the 1950s, with particular focus on a father whose own rough go at life informs but doesn’t fully excuse his behavior in his own household. For it to work onscreen, a director needs to see this character as fully formed, not merely a product of his environment or a vehicle for sermonizing. We must see him as a man who bleeds, heavily, and often from self-inflicted wounds.\u003c/p>\n\u003cp>Eleven years after his 2005 death, Wilson finally gets his wish in perhaps the most widely acclaimed black actor of a generation. Denzel Washington is behind the chair, his third go-around as a director after \u003cem>Antwone Fisher\u003c/em> and \u003cem>The Great Debaters\u003c/em>. His approach is that of devoted student trying to learn from a long-gone mentor. Every choice he makes as a director here is designed to underline, rather than complement, the script, which is so faithful it bears only Wilson’s name.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/spCxVd9ctFs'\n title='//www.youtube.com/embed/spCxVd9ctFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As he did onstage in the recent Broadway revival, Washington embodies the lead role of Troy, a former baseball player in the Negro League, now working as a garbage collector in Pittsburgh. (The character was originally portrayed on Broadway by James Earl Jones.) Troy and his dreams have had a hard time: after outrunning an abusive childhood and a troublemaking past for a shot at athletic glory, he aged out of his prime before Major League Baseball could integrate. Over the years, this has burrowed under Troy’s skin to the point where he becomes infuriated when someone suggests he was simply born at the wrong time: “There ought not never have been no time called too early!” he thunders, a passionate outburst that paints a life defined by prejudice and bad breaks. In that line we understand the central tragedy of Wilson’s play with remarkable clarity: the sense that a rising tide is leaving you behind, and the ways such a realization can undo even the sturdiest among us, even the ones who have wrestled with Death.\u003c/p>\n\u003cp>But the beauty of the play (and the film) lies not in its lessons but in the moral complexities of its characters, all of whom make compromises with each other and within themselves just to get through the days. Troy is emotionally manipulative to his two sons, channeling the pains of his workaday life to sour their dreams of escaping the same, and he confers upon himself the right to lie to his wife Rose (Viola Davis), who knows, deep down, that her onetime reasons for marrying this man are falling by the wayside. Over the course of a few months in their house, mostly in the backyard that is Troy’s domain and the kitchen that is Rose’s, we see some of these resentments from the past come to a head, be they through the man’s unfulfilled promises to erect a fence on the perimeter of their property or a far more insidious broken trust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Washington has a charisma that leaves lesser performers quaking at his feet, and he’s justly celebrated as one of the few Capital-A Actors alive today. (Comedians W. Kamau Bell and Kevin Avery host a podcast called \u003cem>Denzel Washington Is The Greatest Actor Of All Time Period\u003c/em>, and it’s hard to argue.) In his baggy work pants and cap, with that devilish grin on his face challenging anyone who dares step to him, Washington’s Troy is a masterful construct of self-delusion, a man who can wrench sympathy from his stories even once we learn they’re not true. Opposite him, Davis demonstrates once again why she is such an essential artist, never wasting even a single moment of detail. She’s always juggling some kitchen prop or another, and builds more heartbreak for how matter-of-fact Rose’s predicament seems. She can unleash a moment of righteous indignation at a husband who’s taken her for granted several times too many — and still be bound to keep putting dinner on the table.\u003c/p>\n\u003cp>The supporting cast is uniformly excellent, as well. Jovan Adepo is tremendous as Troy’s younger son Cory, a football star who wants to play in college but must fight his father’s veiled efforts to hog the family sports glory for himself; when the two go toe-to-toe, with the father snarling that there’s no law on the books demanding he must like his son, it’s a Biblical standoff. Russell Hornsby, as Troy’s older son, and Stephen Henderson, as his best friend, have quieter roles but remind us that, in plays, there are no wasted parts — everyone who will eventually shine does better when they’ve spent their non-shiny moments fitting naturally into the environment. Fitting less naturally is Mykelti Williamson as Troy’s too-aptly-named brother Gabriel, who suffered a head injury in WWII and is now convinced he fights off the devil with his trumpet and “chases hellhounds” down the street. Gabriel is the one weak link in Wilson’s vision, a too-writerly expression of God’s tenuous presence in this world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Fences\u003c/em> is moviemaking as public service, like PBS’s Masterpiece Theater: an accessible adaptation of a necessary literary work that few will ever have the opportunity to see onstage. Washington keeps us entrenched in the claustrophobic house and declines to gussy things up with the cinematic flourishes we might expect. It’s a choice that will make serious film types fidgety, but the workmanlike approach is the best way to channel the simple power of the language itself, its repetitions and folksy rhythms, and the force of the message contained within. As such, it’s the approach Wilson was holding out for. They say in the film that fences can keep people out or keep people in, but for an adaptation like this, it’s best to have no fences at all. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
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