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"content": "\u003cp>Maybe it was the way his life transected areas that define America – race and religion; war and sports – or perhaps it was his own love for words. Whatever the reason, Muhammad Ali’s life and career inspired writing that was nearly as captivating as the man himself.\u003c/p>\n\u003cp>With Ali – The Greatest – \u003ca href=\"http://www.npr.org/2016/06/04/171025748/boxer-muhammad-ali-the-greatest-of-all-time-dies-at-74\" target=\"_blank\" rel=\"noopener\">now dead at age 74\u003c/a>, here’s a list of some of the best stories written about him. Ali’s large personality was perfectly suited to books, such as Norman Mailer’s \u003cem>The Fight\u003c/em>. For this subjective list, we’re looking at shorter pieces. Feel free to share your favorites in the comment section.\u003c/p>\n\u003cp>\u003cstrong>‘Lawdy, Lawdy, He’s Great’\u003c/strong> – \u003ca href=\"https://twitter.com/HistoryToLearn/status/738921292250812416\" target=\"_blank\" rel=\"noopener\">Mark Kram in Sports Illustrated, 1975\u003c/a>\u003c/p>\n\u003cp>“True to his plan, arrogant and contemptuous of an opponent’s worth as never before, Ali opened the fight flat-footed in the center of the ring, his hands whipping out and back like the pistons of an enormous and magnificent engine. Much broader than he has ever been, the look of swift destruction defined by his every move, Ali seemed indestructible. Once, so long ago, he had been a splendidly plumed bird who wrote on the wind a singular kind of poetry of the body, but now he was down to earth, brought down by the changing shape of his body, by a sense of his own vulnerability, and by the years of excess. Dancing was for a ballroom; the ugly hunt was on. Head up and unprotected, Frazier stayed in the mouth of the cannon, and the big gun roared again and again.”\u003c/p>\n\u003cp>\u003cstrong>My Dinner With Ali\u003c/strong> — \u003ca href=\"http://thestacks.deadspin.com/my-dinner-with-ali-511528500\" target=\"_blank\" rel=\"noopener\">Davis Miller in the Louisville Courier-Journal,\u003cem> \u003c/em>1989; republished in Deadspin. 2013\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘I know why this has happened,’ Ali said. ‘God is showing me, and showing \u003cem>you’\u003c/em>—he pointed his shaking index finger at me and widened his eyes—’that I’m just a man, just like everybody else.’\u003c/p>\n\u003cp>“We sat a long, quiet time then, and watched his flickering image on the television screen. It was now 1971 and there was footage of him training for the first Frazier fight. Our Most Public Figure was then The World’s Most Beautiful Man and The Greatest Athlete of All Times, his copper skin glowing under the fluorescents, secret rhythms springing in loose firmness from his fingertips.\u003c/p>\n\u003cp>“‘Champ, I think it’s time for me to go,’ I said again and made an effort to stand.\u003c/p>\n\u003cp>“‘No, stay. You my man,’ he says, and pats my leg. He has always been this way, always wanted to be around people. I take his accolade as one of the greatest compliments of my life.”\u003c/p>\n\u003cp>\u003cstrong>Showing Muhammad Ali as a Martyr for Refusing to Fight in a Bad War\u003c/strong> — \u003ca href=\"http://www.georgelois.com/pages/Esquire/Esq.Ali.html\" target=\"_blank\" rel=\"noopener\">photographer George Lois writes about his 1968 \u003cem>Esquire\u003c/em> cover.\u003c/a>\u003c/p>\n\u003cp>“‘Hey George, this cat’s a Christian!’\u003c/p>\n\u003cp>“I blurted back, ‘Holy Moses, you’re right, Champ!’\u003c/p>\n\u003cp>“I explained to Ali that St. Sebastian was a Roman soldier who survived execution by arrows for converting to Christianity. He was then clubbed to death, and has gone down in history as the definitive martyr. Before we could affix any arrows to Ali, he got on the phone with his religious leader, Elijah Mummad. Ali explained the painting in excruciating detail. He was concerned about the propriety of using a Christian source for the portrayal of his martyrdom. He finally put me, a non-practicing Greek Orthodox, on the phone. After a lengthy theological discussion, Elijah gave his okay.”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali in Excelsis\u003c/strong> — \u003ca href=\"http://www.gq.com/story/muhammad-ali-in-excelsis-gq-1998\" target=\"_blank\" rel=\"noopener\">Peter Richmond in GQ, 1998\u003c/a>\u003c/p>\n\u003cp>“I’d expected the disease to have robbed him of the vitality that once exploded from him. I’d expected the disease to represent the ultimate cruel triumph of the world that had always wanted the black boy from Louisville, Kentucky, to shut the hell up.”\u003c/p>\n\u003cp>“But up close, I am discovering that his affliction has taken nothing away, none of the energy, none of the wit, none of the pride; it has only bound all of it, captured and constricted it, with the entirely unexpected result that, as an aeon of geologic forces can compress a large vein of coal into a very small diamond, whatever was the essence of Muhammad Ali is now somehow magnified. He is at last what he always pretended to be but never was: the Greatest. For it must be axiomatic that if someone calls himself the Greatest, as Ali did for years, he cannot possibly be; the Greatest would never have to label himself as such. Only when he was forced to stop proclaiming his greatness did it become possible.”\u003c/p>\n\u003cp>\u003cstrong>The Outsized Life of Muhammad Ali \u003c/strong>— \u003ca href=\"http://www.newyorker.com/news/news-desk/the-outsized-life-of-muhammad-ali\" target=\"_blank\" rel=\"noopener\">David Remnick in The New Yorker, 2016\u003c/a>\u003c/p>\n\u003cp>“Cassius’s father was a man of thwarted dreams. He distrusted whites, and felt he was prevented from becoming a painter of canvasses rather than of signs and billboards. He drank too much, and his bitterness sometimes tipped into chaos. He was, one of Ali’s friends said, the source of a great deal of pain in the family. His mother, Odessa, was usually the object of Cassius, Sr.,’s fury and fists, and she was the boy’s comfort. Odessa was the first to know that her son was hyperverbal and quick with a left hand. As she once recalled, ‘He was always a talker. He tried to talk so hard when he was a baby. He used to jabber so, you know? And people’d laugh and he’d shake his face and jabber so fast. I don’t see how anybody could talk so fast, just like lightning. And he never sat still. He was in the bed with me at six months old, and you know how babies stretch? He had little muscle arms and he hit me in the mouth when he stretched and it loosened my front tooth and it affected my other front tooth and I had to have both of them pulled out. So I always say his first knockout punch was in my mouth.’ ”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali, who riveted the world as ‘The Greatest,’ dies\u003c/strong> – \u003ca href=\"http://bigstory.ap.org/dedb61d1ce6d4aac972f8e479992723c\" target=\"_blank\" rel=\"noopener\">the AP’s Tim Dahlberg, 2016\u003c/a>\u003c/p>\n\u003cp>” ‘I don’t call him the best boxer of all time, but he’s the greatest human being I ever met,’ Foreman said. ‘To this day he’s the most exciting person I ever met in my life.’\u003c/p>\n\u003cp>“Born Cassius Marcellus Clay on Jan. 17, 1942, in Louisville, Kentucky, Ali began boxing at age 12 after his new bicycle was stolen and he vowed to policeman Joe Martin that he would ‘whup’ the person who took it.\u003c/p>\n\u003cp>“He was only 89 pounds at the time, but Martin began training him at his boxing gym, the beginning of a six-year amateur career that ended with the light heavyweight Olympic gold medal in 1960.”\u003c/p>\n\u003cp>Of writing the obituary of a man who both reshaped and transcended the world of boxing, the AP’s Dahlberg \u003ca href=\"https://twitter.com/timdahlberg/status/738961995387535360\">says via Twitter\u003c/a> that it was “a labor of love. Very sad to see him go.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://twitter.com/HistoryToLearn/status/738921292250812416\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=Muhammad+Ali%2C+The+Boxing+Poet+Who+Inspired+Liquid+Prose&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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I take his accolade as one of the greatest compliments of my life.”\u003c/p>\n\u003cp>\u003cstrong>Showing Muhammad Ali as a Martyr for Refusing to Fight in a Bad War\u003c/strong> — \u003ca href=\"http://www.georgelois.com/pages/Esquire/Esq.Ali.html\" target=\"_blank\" rel=\"noopener\">photographer George Lois writes about his 1968 \u003cem>Esquire\u003c/em> cover.\u003c/a>\u003c/p>\n\u003cp>“‘Hey George, this cat’s a Christian!’\u003c/p>\n\u003cp>“I blurted back, ‘Holy Moses, you’re right, Champ!’\u003c/p>\n\u003cp>“I explained to Ali that St. Sebastian was a Roman soldier who survived execution by arrows for converting to Christianity. He was then clubbed to death, and has gone down in history as the definitive martyr. Before we could affix any arrows to Ali, he got on the phone with his religious leader, Elijah Mummad. Ali explained the painting in excruciating detail. He was concerned about the propriety of using a Christian source for the portrayal of his martyrdom. He finally put me, a non-practicing Greek Orthodox, on the phone. After a lengthy theological discussion, Elijah gave his okay.”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali in Excelsis\u003c/strong> — \u003ca href=\"http://www.gq.com/story/muhammad-ali-in-excelsis-gq-1998\" target=\"_blank\" rel=\"noopener\">Peter Richmond in GQ, 1998\u003c/a>\u003c/p>\n\u003cp>“I’d expected the disease to have robbed him of the vitality that once exploded from him. I’d expected the disease to represent the ultimate cruel triumph of the world that had always wanted the black boy from Louisville, Kentucky, to shut the hell up.”\u003c/p>\n\u003cp>“But up close, I am discovering that his affliction has taken nothing away, none of the energy, none of the wit, none of the pride; it has only bound all of it, captured and constricted it, with the entirely unexpected result that, as an aeon of geologic forces can compress a large vein of coal into a very small diamond, whatever was the essence of Muhammad Ali is now somehow magnified. He is at last what he always pretended to be but never was: the Greatest. For it must be axiomatic that if someone calls himself the Greatest, as Ali did for years, he cannot possibly be; the Greatest would never have to label himself as such. Only when he was forced to stop proclaiming his greatness did it become possible.”\u003c/p>\n\u003cp>\u003cstrong>The Outsized Life of Muhammad Ali \u003c/strong>— \u003ca href=\"http://www.newyorker.com/news/news-desk/the-outsized-life-of-muhammad-ali\" target=\"_blank\" rel=\"noopener\">David Remnick in The New Yorker, 2016\u003c/a>\u003c/p>\n\u003cp>“Cassius’s father was a man of thwarted dreams. He distrusted whites, and felt he was prevented from becoming a painter of canvasses rather than of signs and billboards. He drank too much, and his bitterness sometimes tipped into chaos. He was, one of Ali’s friends said, the source of a great deal of pain in the family. His mother, Odessa, was usually the object of Cassius, Sr.,’s fury and fists, and she was the boy’s comfort. Odessa was the first to know that her son was hyperverbal and quick with a left hand. As she once recalled, ‘He was always a talker. He tried to talk so hard when he was a baby. He used to jabber so, you know? And people’d laugh and he’d shake his face and jabber so fast. I don’t see how anybody could talk so fast, just like lightning. And he never sat still. He was in the bed with me at six months old, and you know how babies stretch? He had little muscle arms and he hit me in the mouth when he stretched and it loosened my front tooth and it affected my other front tooth and I had to have both of them pulled out. So I always say his first knockout punch was in my mouth.’ ”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali, who riveted the world as ‘The Greatest,’ dies\u003c/strong> – \u003ca href=\"http://bigstory.ap.org/dedb61d1ce6d4aac972f8e479992723c\" target=\"_blank\" rel=\"noopener\">the AP’s Tim Dahlberg, 2016\u003c/a>\u003c/p>\n\u003cp>” ‘I don’t call him the best boxer of all time, but he’s the greatest human being I ever met,’ Foreman said. ‘To this day he’s the most exciting person I ever met in my life.’\u003c/p>\n\u003cp>“Born Cassius Marcellus Clay on Jan. 17, 1942, in Louisville, Kentucky, Ali began boxing at age 12 after his new bicycle was stolen and he vowed to policeman Joe Martin that he would ‘whup’ the person who took it.\u003c/p>\n\u003cp>“He was only 89 pounds at the time, but Martin began training him at his boxing gym, the beginning of a six-year amateur career that ended with the light heavyweight Olympic gold medal in 1960.”\u003c/p>\n\u003cp>Of writing the obituary of a man who both reshaped and transcended the world of boxing, the AP’s Dahlberg \u003ca href=\"https://twitter.com/timdahlberg/status/738961995387535360\">says via Twitter\u003c/a> that it was “a labor of love. Very sad to see him go.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Lonely Island comedy trio — Akiva Schaffer, Jorma Taccone, and Andy Samberg — have been writing and performing together since 2000, but they didn’t reach national prominence until 2005, when their Saturday Night Live digital short \u003ca href=\"http://www.hulu.com/watch/1397\" target=\"_blank\" rel=\"noopener\">“Lazy Sunday”\u003c/a> went viral. “Lazy Sunday” crystallized the troupe’s winning musical formula: Ferocious, chest-thumping rap braggadocio in service of silly and self-deprecating lyrics, like eating cupcakes and seeing a matinee of \u003cem>The Chronicles of Narnia\u003c/em>. On \u003cem>SNL\u003c/em>, three albums, and a run of consistently hilarious music videos, The Lonely Island has become the hip-hop equivalent to Jack Black and Kyle Gass’ long-running heavy metal parody/homage, Tenacious D. And the lingering question for both is: How far can one joke be stretched?\u003c/p>\n\u003cp>https://youtu.be/Q9RoNzJrmDo\u003c/p>\n\u003cp>For Tenacious D, the answer was the humbling 2006 farce \u003cem>Tenacious D in The Pick of Destiny\u003c/em>, which sputtered after a \u003ca href=\"https://www.youtube.com/watch?v=kVbbtuJfgIc\" target=\"_blank\" rel=\"noopener\">brilliant standalone opening\u003c/a>. The Lonely Island fares considerably better with \u003cem>Popstar: Never Stop Never Stopping\u003c/em>, perhaps because the concept isn’t limited to rap parody, but acts as a net that trawls the entire pop universe, in all its pomposity and excess and chronic eccentricity. Taking a mock-documentary form that draws from \u003cem>This is Spinal Tap\u003c/em>, VH-1’s \u003cem>Behind the Music\u003c/em>, and promotional movies like \u003cem>Justin Bieber: Never Say Never\u003c/em> and \u003cem>Katy Perry: Part of Me\u003c/em>, \u003cem>Popstar\u003c/em> isn’t a satire so much as a warped funhouse reflection of the contemporary scene. It’s bright, affectionate, and so keyed into our particular pop moment that it all but hurls itself into a time capsule.\u003c/p>\n\u003cp>It’s also full of jokes, lots of them, pouring out from the dialogue, the soundtrack, and an onslaught of graphics, references, foreground/background jokes, and random jokes tucked into the crevasses. Schaffer, Taccone, and Samberg had tried to make a feature-length comedy before in the underrated \u003cem>Hot Rod\u003c/em>, which tanked, but this is their first true Lonely Island movie and they’re not leaving any potential laughs off the table. The manic pacing gives \u003cem>Popstar\u003c/em> the jagged rhythm of a hit-or-miss spoof in the \u003cem>Airplane!\u003c/em> tradition, but there’s enough hits to sustain every scene and a simple arc about friendship and collaboration to carry the finale across.\u003c/p>\n\u003cp>As \u003cem>Popstar\u003c/em> opens, Conner4Real (Samberg) is an ascendent phenom, having used the early success of The Style Boyz, the band he started with childhood buddies Owen (Taccone) and Lawrence (Schaffer), to catapult, Justin Timberlake-like, to solo glory. Now surrounded entirely by sycophants, including 23 personal assistants, Conner is readying the launch of his new album, \u003cem>Connquest\u003c/em>, for which he wrote all the songs and slickened with the services of 100 producers. With singles like “Equal Rights,” a marriage equality anthem laced with gay panic, and “Finest Girl (Bin Laden Song),” a sex track littered with references to the Osama Bin Laden killing, \u003cem>Connquest\u003c/em> is a critical flop and a commercial disaster. (\u003cem>Pitchfork\u003c/em> gives it -4.0 out of 10 while \u003cem>Rolling Stone\u003c/em> opts for the poop emoji on its four-star scale.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nonetheless, Conner tours in support of the record, breaking out new gimmicks to stave off his dwindling fortune. In that, \u003cem>Popstar\u003c/em> acts as a scaled-up \u003cem>This is Spinal Tap\u003c/em>, following a washed-up outfit through half-filled arenas as its latest LP drifts into obscurity. The film has a sentimental side, too, as Conner seeks to mend fences with Owen and Lawrence, who are reduced to DJ-ing with an iPod and working on a dust-choked farm, respectively. Samberg’s breakout success as a TV and movie star likely informs this subplot, with The Style Boyz as a stand-in for The Lonely Island, but a comedy this untroubled doesn’t hint at any true discord.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Conner’s image as a runaway egotist and conspicuous spender feeds into blockbuster scope of \u003cem>Popstar\u003c/em>, which doesn’t allow for the more modest observational comedy of \u003ci>Spinal Tap\u003c/i> or a Christopher Guest comedy like \u003cem>A Mighty Wind\u003c/em>. The film is jammed with a who’s-who of celebrity cameos and bit parts, like Timberlake as a personal chef with a yen for carrot preparation, and massive setpieces, like Seal presiding over a wedding proposal disrupted by a pack of wild wolves. Some of the jokes undercut pop grotesquerie, others are merely silly for the sake of it. And as with any good Lonely Island song, all of them are delivered with infectious brio.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Lonely Island comedy trio — Akiva Schaffer, Jorma Taccone, and Andy Samberg — have been writing and performing together since 2000, but they didn’t reach national prominence until 2005, when their Saturday Night Live digital short \u003ca href=\"http://www.hulu.com/watch/1397\" target=\"_blank\" rel=\"noopener\">“Lazy Sunday”\u003c/a> went viral. “Lazy Sunday” crystallized the troupe’s winning musical formula: Ferocious, chest-thumping rap braggadocio in service of silly and self-deprecating lyrics, like eating cupcakes and seeing a matinee of \u003cem>The Chronicles of Narnia\u003c/em>. On \u003cem>SNL\u003c/em>, three albums, and a run of consistently hilarious music videos, The Lonely Island has become the hip-hop equivalent to Jack Black and Kyle Gass’ long-running heavy metal parody/homage, Tenacious D. And the lingering question for both is: How far can one joke be stretched?\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/Q9RoNzJrmDo'\n title='//www.youtube.com/embed/Q9RoNzJrmDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Tenacious D, the answer was the humbling 2006 farce \u003cem>Tenacious D in The Pick of Destiny\u003c/em>, which sputtered after a \u003ca href=\"https://www.youtube.com/watch?v=kVbbtuJfgIc\" target=\"_blank\" rel=\"noopener\">brilliant standalone opening\u003c/a>. The Lonely Island fares considerably better with \u003cem>Popstar: Never Stop Never Stopping\u003c/em>, perhaps because the concept isn’t limited to rap parody, but acts as a net that trawls the entire pop universe, in all its pomposity and excess and chronic eccentricity. Taking a mock-documentary form that draws from \u003cem>This is Spinal Tap\u003c/em>, VH-1’s \u003cem>Behind the Music\u003c/em>, and promotional movies like \u003cem>Justin Bieber: Never Say Never\u003c/em> and \u003cem>Katy Perry: Part of Me\u003c/em>, \u003cem>Popstar\u003c/em> isn’t a satire so much as a warped funhouse reflection of the contemporary scene. It’s bright, affectionate, and so keyed into our particular pop moment that it all but hurls itself into a time capsule.\u003c/p>\n\u003cp>It’s also full of jokes, lots of them, pouring out from the dialogue, the soundtrack, and an onslaught of graphics, references, foreground/background jokes, and random jokes tucked into the crevasses. Schaffer, Taccone, and Samberg had tried to make a feature-length comedy before in the underrated \u003cem>Hot Rod\u003c/em>, which tanked, but this is their first true Lonely Island movie and they’re not leaving any potential laughs off the table. The manic pacing gives \u003cem>Popstar\u003c/em> the jagged rhythm of a hit-or-miss spoof in the \u003cem>Airplane!\u003c/em> tradition, but there’s enough hits to sustain every scene and a simple arc about friendship and collaboration to carry the finale across.\u003c/p>\n\u003cp>As \u003cem>Popstar\u003c/em> opens, Conner4Real (Samberg) is an ascendent phenom, having used the early success of The Style Boyz, the band he started with childhood buddies Owen (Taccone) and Lawrence (Schaffer), to catapult, Justin Timberlake-like, to solo glory. Now surrounded entirely by sycophants, including 23 personal assistants, Conner is readying the launch of his new album, \u003cem>Connquest\u003c/em>, for which he wrote all the songs and slickened with the services of 100 producers. With singles like “Equal Rights,” a marriage equality anthem laced with gay panic, and “Finest Girl (Bin Laden Song),” a sex track littered with references to the Osama Bin Laden killing, \u003cem>Connquest\u003c/em> is a critical flop and a commercial disaster. (\u003cem>Pitchfork\u003c/em> gives it -4.0 out of 10 while \u003cem>Rolling Stone\u003c/em> opts for the poop emoji on its four-star scale.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nonetheless, Conner tours in support of the record, breaking out new gimmicks to stave off his dwindling fortune. In that, \u003cem>Popstar\u003c/em> acts as a scaled-up \u003cem>This is Spinal Tap\u003c/em>, following a washed-up outfit through half-filled arenas as its latest LP drifts into obscurity. The film has a sentimental side, too, as Conner seeks to mend fences with Owen and Lawrence, who are reduced to DJ-ing with an iPod and working on a dust-choked farm, respectively. Samberg’s breakout success as a TV and movie star likely informs this subplot, with The Style Boyz as a stand-in for The Lonely Island, but a comedy this untroubled doesn’t hint at any true discord.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Conner’s image as a runaway egotist and conspicuous spender feeds into blockbuster scope of \u003cem>Popstar\u003c/em>, which doesn’t allow for the more modest observational comedy of \u003ci>Spinal Tap\u003c/i> or a Christopher Guest comedy like \u003cem>A Mighty Wind\u003c/em>. The film is jammed with a who’s-who of celebrity cameos and bit parts, like Timberlake as a personal chef with a yen for carrot preparation, and massive setpieces, like Seal presiding over a wedding proposal disrupted by a pack of wild wolves. Some of the jokes undercut pop grotesquerie, others are merely silly for the sake of it. And as with any good Lonely Island song, all of them are delivered with infectious brio.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \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=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \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=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Romance Askew In 'Maggie's Plan'",
"headTitle": "A Romance Askew In ‘Maggie’s Plan’ | KQED",
"content": "\u003cp>A good ingénue role is stuffed with smarts, as Gracie Allen, Marilyn Monroe, Lucille Ball and other comic greats all understood. Greta Gerwig, an accomplished filmmaker and actress who’s been pinned (\u003cem>Damsels in Distress\u003c/em>, \u003cem>Frances Ha Ha\u003c/em>, and others) as the go-to ingénue of American independent film, gets that, too. On the whole, she’s made hay with the knowledge, even when the purported ditz isn’t drawn distinctly enough to give room for expansion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GmYHG6_pri4\u003c/p>\n\u003cp>In \u003cem>Maggie’s Plan\u003c/em>, a sweet-tempered if rambling romantic comedy by Rebecca Miller from a story by Karen Rinaldi, Gerwig demonstrates again that playing innocent doesn’t mean playing stupid. She plays Maggie Hardin, an earnest young New York singleton in pinafore frocks and sensible tights, who longs for a child and an authentic life, whatever that is. Maggie’s a practical sort, so with nothing doing on the love front, she commandeers the presumably robust sperm of Guy (Travis Fimmel), a Viking-like former college mate — and grade-A innocent in his own right — who’s starting out in the pickle business.\u003c/p>\n\u003cp>At that very moment, Maggie meets and falls for a college professor named John Harding (serendipity!), played in wire rims and sticky-up hair by Ethan Hawke. That John is already married, if none too happily, to a hotshot Columbia academic from Denmark (Julianne Moore, in a wavering German accent) presents little obstacle. Maggie persuades herself that John’s discontent gives her the green light to shack up with him. The pickle purveyor is shunted to the wings, and we cut without ceremony to a couple of years later, when Maggie and John’s troubles really begin.\u003c/p>\n\u003cp>Slushy streets aside (this is a deglamorized Manhattan to be struggled with) what follows is early Woody Allen. Nobody knows what they’re doing, and everyone’s chasing blind instinct. In the name of honesty and following the heart and all that stuff, damage is done; partners are switched. The madness is noted with wry disbelief by the in-house Greek-chorus couple, Maggie’s best friends (Bill Hader and Maya Rudolph). Miller has a more forgiving heart than Allen, and the payoff is less about the wages of sin than it is about the lethal potential of a control freak armed with good intentions based on faulty assumptions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At its best, \u003cem>Maggie’s Plan\u003c/em> shows genuine wit as a comedy of manners set among the peculiarly ill-defined “professions” that grow like moss between the cracks of the new economy, for want of a better term. John calls himself a “fictio-critical anthropologist,” which means he can’t decide whether he’s a novelist or a social scientist, while his breakfast-nook chat with the first missus features a lot of straight-faced references to commodity fetishism. The pickle guy sells on the street, and Hader mostly wheels a stroller around town. As for Maggie, ever the would-be reconciler, she’s trying to make a living by “bridging art and commerce,” which means trying to sell the strange educational toys of kooky inventors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, for someone who’s cast as the vital connective tissue in this shifting ménage, Maggie comes off as intelligent but a bit nerveless. Gerwig’s blend of smart and clueless is always charming and astute, but as a lover tells Maggie with unfortunate accuracy, “You’re such a hall monitor.” Of such undersexed stuff romantic comedy is rarely made, and though Miller is a bit lighter on her feet here than in some of her other movies, \u003cem>Maggie’s Plan\u003c/em> doesn’t clip along smartly enough for screwball. In the end, there just isn’t enough chemistry to go round — until the return of Mr. Pickle, and even he’s too little, too late.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A good ingénue role is stuffed with smarts, as Gracie Allen, Marilyn Monroe, Lucille Ball and other comic greats all understood. Greta Gerwig, an accomplished filmmaker and actress who’s been pinned (\u003cem>Damsels in Distress\u003c/em>, \u003cem>Frances Ha Ha\u003c/em>, and others) as the go-to ingénue of American independent film, gets that, too. On the whole, she’s made hay with the knowledge, even when the purported ditz isn’t drawn distinctly enough to give room for expansion.\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/GmYHG6_pri4'\n title='//www.youtube.com/embed/GmYHG6_pri4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Maggie’s Plan\u003c/em>, a sweet-tempered if rambling romantic comedy by Rebecca Miller from a story by Karen Rinaldi, Gerwig demonstrates again that playing innocent doesn’t mean playing stupid. She plays Maggie Hardin, an earnest young New York singleton in pinafore frocks and sensible tights, who longs for a child and an authentic life, whatever that is. Maggie’s a practical sort, so with nothing doing on the love front, she commandeers the presumably robust sperm of Guy (Travis Fimmel), a Viking-like former college mate — and grade-A innocent in his own right — who’s starting out in the pickle business.\u003c/p>\n\u003cp>At that very moment, Maggie meets and falls for a college professor named John Harding (serendipity!), played in wire rims and sticky-up hair by Ethan Hawke. That John is already married, if none too happily, to a hotshot Columbia academic from Denmark (Julianne Moore, in a wavering German accent) presents little obstacle. Maggie persuades herself that John’s discontent gives her the green light to shack up with him. The pickle purveyor is shunted to the wings, and we cut without ceremony to a couple of years later, when Maggie and John’s troubles really begin.\u003c/p>\n\u003cp>Slushy streets aside (this is a deglamorized Manhattan to be struggled with) what follows is early Woody Allen. Nobody knows what they’re doing, and everyone’s chasing blind instinct. In the name of honesty and following the heart and all that stuff, damage is done; partners are switched. The madness is noted with wry disbelief by the in-house Greek-chorus couple, Maggie’s best friends (Bill Hader and Maya Rudolph). Miller has a more forgiving heart than Allen, and the payoff is less about the wages of sin than it is about the lethal potential of a control freak armed with good intentions based on faulty assumptions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At its best, \u003cem>Maggie’s Plan\u003c/em> shows genuine wit as a comedy of manners set among the peculiarly ill-defined “professions” that grow like moss between the cracks of the new economy, for want of a better term. John calls himself a “fictio-critical anthropologist,” which means he can’t decide whether he’s a novelist or a social scientist, while his breakfast-nook chat with the first missus features a lot of straight-faced references to commodity fetishism. The pickle guy sells on the street, and Hader mostly wheels a stroller around town. As for Maggie, ever the would-be reconciler, she’s trying to make a living by “bridging art and commerce,” which means trying to sell the strange educational toys of kooky inventors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, for someone who’s cast as the vital connective tissue in this shifting ménage, Maggie comes off as intelligent but a bit nerveless. Gerwig’s blend of smart and clueless is always charming and astute, but as a lover tells Maggie with unfortunate accuracy, “You’re such a hall monitor.” Of such undersexed stuff romantic comedy is rarely made, and though Miller is a bit lighter on her feet here than in some of her other movies, \u003cem>Maggie’s Plan\u003c/em> doesn’t clip along smartly enough for screwball. In the end, there just isn’t enough chemistry to go round — until the return of Mr. Pickle, and even he’s too little, too late.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chechen strongman Ramzan Kadyrov and HBO host John Oliver are locked in a public spat over a lost cat.\u003c/p>\n\u003cp>First, Kadyrov — the leader of the Russian republic of Chechnya whose forces have been \u003ca href=\"https://www.hrw.org/news/2016/04/13/dispatches-price-dissent-chechnya\">accused of torture\u003c/a> — asked his 1.8 million Instagram followers for help finding his missing cat.\u003c/p>\n\u003cp>“We have completely lost our cat,” the staunch ally of Russian President Vladmir Putin posted, according to \u003ca href=\"http://www.theguardian.com/world/2016/may/20/chechen-leader-kadyrov-instagram-cat\" target=\"_blank\" rel=\"noopener\">a translation from \u003cem>The Guardian\u003c/em>\u003c/a>. “We have begun to seriously worry.” He appealed to his followers for any information about the feline’s whereabouts.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFd2vWNiRul/\u003c/p>\n\u003cp>Then, Oliver picked up the news for a segment on his satirical current events show, \u003cem>Last Week Tonight with John Oliver\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliver pokes fun at Kadyrov’s prolific Instagram feed, which, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/21/478968296/chechen-strongman-takes-to-instagram-to-search-for-his-lost-cat\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>, runs the gamut from mundane to completely outrageous — including a video \u003ca href=\"https://www.instagram.com/p/71FvV0iRjq/\" target=\"_blank\" rel=\"noopener\">where he apparently wrestles a crocodile\u003c/a>, and a \u003ca href=\"https://www.instagram.com/p/3G06hziRmd/\" target=\"_blank\" rel=\"noopener\">trailer for a Hollywood-style action film\u003c/a> in which he stars. Kadyrov’s workout routine (mainly weightlifting and boxing) \u003ca href=\"https://www.instagram.com/p/BByQeDtiRgW/\" target=\"_blank\" rel=\"noopener\">is also a regular feature\u003c/a>.\u003c/p>\n\u003cp>“Kadyrov is basically like a can of Monster energy drink come to life,” Oliver says. “And honestly, I cannot recommend his Instagram feed enough.” He continues:\u003c/p>\n\u003cblockquote>\n\u003cp>“It almost makes you forget he was once accused of beating a prisoner with a shovel handle before executing him. Almost, but not quite.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Oliver’s conclusion: “For the good of the Chechen people and stability in the whole region, we have to find this f*****’s cat.” He urges viewers to join a campaign called #FindKadyrovsCat — basically designed to taunt the strongman by flooding him with pictures of random cats asking if they belong to him.\u003c/p>\n\u003cp>For example:\u003c/p>\n\u003cp>https://twitter.com/iamjohnoliver/status/734728962119770112\u003c/p>\n\u003cp>Oliver also points out that in picture after picture on his account, Kadyrov is wearing T-shirts adorned with images of Putin, like this one:\u003c/p>\n\u003cp>https://www.instagram.com/p/_UWFKhiRlI/\u003c/p>\n\u003cp>In response, the apparently incensed authoritarian leader altered Oliver’s picture to remove the cat and replace it with a Putin T-shirt.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFwpvHMiRqM/\u003c/p>\n\u003cp>“I’m tired of jokes. I want to care for cats in Chechnya. By the way, Putin is our leader!” text on the photo reads.\u003c/p>\n\u003cp>Kadyrov says Oliver’s campaign prompted a big response. “I receive lots of photos. Some people say that they saw the cat in Vladivostok, Japan, Iceland, New Zealand, and even in the Oval Office of the White House!” the caption reads. He adds: “I am grateful to all, but this is NOT my cat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Kadyrov downplayed concerns about the missing cat’s well-being, saying the cat leaves the house “in spring from time to time.” He explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“He also needs to meet with friends, mingle and share news. By cat rumors he has in our district a familiar she-cat with which he’s going to start a family. I’m sure that after spring affairs, the cat will return to native walls. Perhaps, he’ll bring his sweet love with him.”\u003c/p>\n\u003c/blockquote>\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=When+The+Cat%27s+Away%3A+Chechen+Strongman+Spars+With+John+Oliver+Over+Lost+Feline&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Looking for a musically sensitive, responsive bandmate? Maybe you should try out Shimon.\u003c/p>\n\u003cp>Shimon is a jazz-playing robot created by \u003ca href=\"http://www.gtcmt.gatech.edu/projects/shimon\" target=\"_blank\" rel=\"noopener\">Gil Weinberg\u003c/a> and his team at the Georgia Tech Center for Music Technology. Shimon was debuted seven years ago, but the robot gave a performance alongside a human collaborator yesterday at Moogfest in Durham, N.C., a festival concentrating on the intersection of music and technology. The video was captured by Quartz reporter Mike Murphy, who has \u003ca href=\"http://qz.com/689827/moogfest-shimon-music-robot/\" target=\"_blank\" rel=\"noopener\">written\u003c/a> about Shimon.\u003c/p>\n\u003cp>This four-handed robot was designed not just to \u003cem>play\u003c/em> music, but to listen and improvise alongside a human — each pushing each other to new creative ideas. In the video, you see the robot responding with something of a human’s sense of pacing and phrasing, changing tempos appropriately and seeming to take in his human colleague’s material and riffing on it in a way that makes harmonic sense.\u003c/p>\n\u003cp>In the performance, Shimon’s head bobs along with the groove. That particular anthropomorphic touch isn’t just for novelty’s sake. According to the description of Shimon on the Georgia Tech website, “An embodied anthropomorphic robot can create familiar, acoustically rich, and visual interactions with humans … the visual connection between sound and motion can allow humans to anticipate, coordinate and synchronize their gestures with the robot.” That is, Shimon’s head motions are supposed to help the human anticipate the robot’s next moves.\u003c/p>\n\u003cp>Back when Shimon made his debut in 2009, Weinberg said in an interview with NPR’s Robert Siegel on \u003cem>All Things Considered,\u003c/em> “The whole idea is to use computer algorithms to create music in ways that humans will never create,” Weinberg said. “Our motto is, ‘Listen like a human, but \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=121763193\" target=\"_blank\" rel=\"noopener\">improvise like a machine\u003c/a>.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When you close your eyes and listen to them perform together, it feels quite organic, like two human percussionists working together. (Or really three, considering Shimon’s extra arms, which the robot starts employing around 2:32.) But visually, the spectacle of human and robot responding to each other’s playing is quite marvelous.\u003c/p>\n\u003cp>Shimon isn’t the only music-minded machine that has come out of this Georgia Tech group. Its other creations include \u003ca href=\"https://www.youtube.com/watch?v=p0WptndaR7Y\" target=\"_blank\" rel=\"noopener\">Travis\u003c/a>, a smartphone-enabled speaker system/”music companion” that responds to the music you play, including swiveling its built-in speakers toward you as you dance around and making new music recommendations.\u003c/p>\n\u003cp>Another is a robotic drumming arm developed for amputees. Working with a drummer named Jason Barnes, Weinberg and his team built a drumming prosthesis that includes motors and two drumsticks. One stick is controlled by the musician’s bicep muscles and electromyography (EMG) muscle sensors; the other stick “listens” and improvises. And as you can see and hear, it can zip right along. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mfXkFFUW_bU\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=Your+New+Robot+Overlord+Turns+Out+To+Be+A+Pretty+Good+Marimba+Player&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for a musically sensitive, responsive bandmate? Maybe you should try out Shimon.\u003c/p>\n\u003cp>Shimon is a jazz-playing robot created by \u003ca href=\"http://www.gtcmt.gatech.edu/projects/shimon\" target=\"_blank\" rel=\"noopener\">Gil Weinberg\u003c/a> and his team at the Georgia Tech Center for Music Technology. Shimon was debuted seven years ago, but the robot gave a performance alongside a human collaborator yesterday at Moogfest in Durham, N.C., a festival concentrating on the intersection of music and technology. The video was captured by Quartz reporter Mike Murphy, who has \u003ca href=\"http://qz.com/689827/moogfest-shimon-music-robot/\" target=\"_blank\" rel=\"noopener\">written\u003c/a> about Shimon.\u003c/p>\n\u003cp>This four-handed robot was designed not just to \u003cem>play\u003c/em> music, but to listen and improvise alongside a human — each pushing each other to new creative ideas. In the video, you see the robot responding with something of a human’s sense of pacing and phrasing, changing tempos appropriately and seeming to take in his human colleague’s material and riffing on it in a way that makes harmonic sense.\u003c/p>\n\u003cp>In the performance, Shimon’s head bobs along with the groove. That particular anthropomorphic touch isn’t just for novelty’s sake. According to the description of Shimon on the Georgia Tech website, “An embodied anthropomorphic robot can create familiar, acoustically rich, and visual interactions with humans … the visual connection between sound and motion can allow humans to anticipate, coordinate and synchronize their gestures with the robot.” That is, Shimon’s head motions are supposed to help the human anticipate the robot’s next moves.\u003c/p>\n\u003cp>Back when Shimon made his debut in 2009, Weinberg said in an interview with NPR’s Robert Siegel on \u003cem>All Things Considered,\u003c/em> “The whole idea is to use computer algorithms to create music in ways that humans will never create,” Weinberg said. “Our motto is, ‘Listen like a human, but \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=121763193\" target=\"_blank\" rel=\"noopener\">improvise like a machine\u003c/a>.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When you close your eyes and listen to them perform together, it feels quite organic, like two human percussionists working together. (Or really three, considering Shimon’s extra arms, which the robot starts employing around 2:32.) But visually, the spectacle of human and robot responding to each other’s playing is quite marvelous.\u003c/p>\n\u003cp>Shimon isn’t the only music-minded machine that has come out of this Georgia Tech group. Its other creations include \u003ca href=\"https://www.youtube.com/watch?v=p0WptndaR7Y\" target=\"_blank\" rel=\"noopener\">Travis\u003c/a>, a smartphone-enabled speaker system/”music companion” that responds to the music you play, including swiveling its built-in speakers toward you as you dance around and making new music recommendations.\u003c/p>\n\u003cp>Another is a robotic drumming arm developed for amputees. Working with a drummer named Jason Barnes, Weinberg and his team built a drumming prosthesis that includes motors and two drumsticks. One stick is controlled by the musician’s bicep muscles and electromyography (EMG) muscle sensors; the other stick “listens” and improvises. And as you can see and hear, it can zip right along. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mfXkFFUW_bU'\n title='//www.youtube.com/embed/mfXkFFUW_bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Your+New+Robot+Overlord+Turns+Out+To+Be+A+Pretty+Good+Marimba+Player&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \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=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \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=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Peek Into the CIA Art Gallery Reveals [REDACTED]",
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"content": "\u003cp>A new oil painting has just arrived in what may be the world’s most clandestine art gallery — the fine arts collection at the headquarters of the Central Intelligence Agency.\u003c/p>\n\u003cp>This commissioned work isn’t your typical still life; the tableau is a busy clutter of gear — photos, blueprints, weapons and ammunition.\u003c/p>\n\u003cp>CIA museum director Toni Hiley says this painting — the 21st in the collection — is purposely complex. \u003ca href=\"https://www.cia.gov/news-information/featured-story-archive/2016-featured-story-archive/contingency-for-every-action-painting.html\" target=\"_blank\" rel=\"noopener\">A Contingency for Every Action\u003c/a> shows artifacts from major covert actions going back to World War II. “It’s what we call an Easter egg painting,” Hiley says. She calls it an “Easter egg” because nestled within are little hints from missions that are still classified.\u003c/p>\n\u003cp>Unless you’re a CIA officer, you’ll probably never get to see the painting in person. Which might make you wonder: Why does the CIA have an art gallery at all?\u003c/p>\n\u003cfigure id=\"attachment_11601994\" class=\"wp-caption aligncenter\" style=\"max-width: 687px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg\" alt='\"ARGO — The Rescue of the Canadian Six\" was painted by an undercover CIA employee. It depicts an operation in which six Americans (\"The Canadian Six\") were rescued after the U.S. embassy in Tehran was taken over in 1979.' width=\"687\" height=\"600\" class=\"size-medium wp-image-11601994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-400x349.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-768x670.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1180x1030.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1920x1676.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-960x838.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9.jpg 2000w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">“ARGO — The Rescue of the Canadian Six” was painted by an undercover CIA employee. It depicts an operation in which six Americans (“The Canadian Six”) were rescued after the U.S. embassy in Tehran was taken over in 1979. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CIA’s mission “is to go where others cannot go,” Hiley tells NPR’s Mary Louise Kelly. The museum’s collection \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/index.html#!/collection\" target=\"_blank\" rel=\"noopener\">(which you can browse here)\u003c/a> is full of equipment, clothing and correspondence that go all the way back to the CIA’s predecessor, the OSS. But the museum can’t always rely on artifacts to tell the full story. “We don’t always have artifacts to act as the portal to get us to that particular part of our history,” Hiley explains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, the museum commissions historical paintings that help ensure that new CIA employees have an opportunity to learn about the past. “Our workforce is a young workforce,” Hiley explains. “Fifty-two percent of our officers have joined since 9/11, and it’s absolutely critical that they understand where we’ve come from as an agency so they can lead us to where we will go.”\u003c/p>\n\u003cp>Some of the paintings recall dark times in CIA history. One work pays tribute to four B26 pilots who lost their lives in the 1961 Bay of Pigs Invasion. Hiley says it’s possible to find pride even in failed operations. “We’re proud of the four pilots we lost, we’re proud that we did what the president asked us to do,” she says. ” … Part of our pride is acknowledging our mistakes and learning from them.”\u003c/p>\n\u003cp>Hiley hasn’t commissioned a painting on Iraq yet, but she says “we’ve done a strategic plan on the collection, and we’re very busy trying to fill in gaps.”\u003c/p>\n\u003cfigure id=\"attachment_11602002\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg\" alt='\"Cast of a Few, Courage of a Nation\" by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks.' width=\"700\" height=\"393\" class=\"size-full wp-image-11602002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2-400x225.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">“Cast of a Few, Courage of a Nation” by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Want to see more? You can browse through more \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/\" target=\"_blank\" rel=\"noopener\">CIA art and artifacts here.\u003c/a>\u003c/strong> \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=A+Peek+Into+The+CIA+Art+Gallery+Reveals+%5BREDACTED%5D&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new oil painting has just arrived in what may be the world’s most clandestine art gallery — the fine arts collection at the headquarters of the Central Intelligence Agency.\u003c/p>\n\u003cp>This commissioned work isn’t your typical still life; the tableau is a busy clutter of gear — photos, blueprints, weapons and ammunition.\u003c/p>\n\u003cp>CIA museum director Toni Hiley says this painting — the 21st in the collection — is purposely complex. \u003ca href=\"https://www.cia.gov/news-information/featured-story-archive/2016-featured-story-archive/contingency-for-every-action-painting.html\" target=\"_blank\" rel=\"noopener\">A Contingency for Every Action\u003c/a> shows artifacts from major covert actions going back to World War II. “It’s what we call an Easter egg painting,” Hiley says. She calls it an “Easter egg” because nestled within are little hints from missions that are still classified.\u003c/p>\n\u003cp>Unless you’re a CIA officer, you’ll probably never get to see the painting in person. Which might make you wonder: Why does the CIA have an art gallery at all?\u003c/p>\n\u003cfigure id=\"attachment_11601994\" class=\"wp-caption aligncenter\" style=\"max-width: 687px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg\" alt='\"ARGO — The Rescue of the Canadian Six\" was painted by an undercover CIA employee. It depicts an operation in which six Americans (\"The Canadian Six\") were rescued after the U.S. embassy in Tehran was taken over in 1979.' width=\"687\" height=\"600\" class=\"size-medium wp-image-11601994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-400x349.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-768x670.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1180x1030.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1920x1676.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-960x838.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9.jpg 2000w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">“ARGO — The Rescue of the Canadian Six” was painted by an undercover CIA employee. It depicts an operation in which six Americans (“The Canadian Six”) were rescued after the U.S. embassy in Tehran was taken over in 1979. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CIA’s mission “is to go where others cannot go,” Hiley tells NPR’s Mary Louise Kelly. The museum’s collection \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/index.html#!/collection\" target=\"_blank\" rel=\"noopener\">(which you can browse here)\u003c/a> is full of equipment, clothing and correspondence that go all the way back to the CIA’s predecessor, the OSS. But the museum can’t always rely on artifacts to tell the full story. “We don’t always have artifacts to act as the portal to get us to that particular part of our history,” Hiley explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, the museum commissions historical paintings that help ensure that new CIA employees have an opportunity to learn about the past. “Our workforce is a young workforce,” Hiley explains. “Fifty-two percent of our officers have joined since 9/11, and it’s absolutely critical that they understand where we’ve come from as an agency so they can lead us to where we will go.”\u003c/p>\n\u003cp>Some of the paintings recall dark times in CIA history. One work pays tribute to four B26 pilots who lost their lives in the 1961 Bay of Pigs Invasion. Hiley says it’s possible to find pride even in failed operations. “We’re proud of the four pilots we lost, we’re proud that we did what the president asked us to do,” she says. ” … Part of our pride is acknowledging our mistakes and learning from them.”\u003c/p>\n\u003cp>Hiley hasn’t commissioned a painting on Iraq yet, but she says “we’ve done a strategic plan on the collection, and we’re very busy trying to fill in gaps.”\u003c/p>\n\u003cfigure id=\"attachment_11602002\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg\" alt='\"Cast of a Few, Courage of a Nation\" by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks.' width=\"700\" height=\"393\" class=\"size-full wp-image-11602002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2-400x225.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">“Cast of a Few, Courage of a Nation” by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Want to see more? You can browse through more \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/\" target=\"_blank\" rel=\"noopener\">CIA art and artifacts here.\u003c/a>\u003c/strong> \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=A+Peek+Into+The+CIA+Art+Gallery+Reveals+%5BREDACTED%5D&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Too Much Technology Can Spoil Your Warhol Experience",
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"content": "\u003cp>Looking at art is the core museum experience. I remember, when I was a kid, seeing Van Gogh’s \u003cem>Starry Night\u003c/em> for the first time. I stood for what seemed like hours, staring at the thick paint and swirling colors in a quiet gallery at the Museum of Modern Art in New York.\u003c/p>\n\u003cp>But San Francisco is not just any city. “Silicon Valley, San Francisco, is a place of innovation, and so we feel quite a strong pressure to play a role in that in the museum space,” says Keir Winesmith, head of Web and digital platforms at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The museum reopened this weekend after a three-year closure \u003ca href=\"https://www.sfmoma.org/about/our-expansion-2016/\" target=\"_blank\" rel=\"noopener\">to build an addition\u003c/a>. Its expanded collection includes works by modern icons such as Andy Warhol, Mark Rothko and Richard Serra, and some new interactive technology. And like a growing number of museums, the San Francisco MOMA hopes the new tech doesn’t get in the way of looking at the art.\u003c/p>\n\u003cfigure id=\"attachment_11594426\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg\" alt=\"A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\" width=\"640\" height=\"479\" class=\"size-large wp-image-11594426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\u003c/figcaption>\u003c/figure>\n\u003cp>Winesmith gave me a walk-through of new technological features in this museum in the heart of downtown San Francisco. Most of the experiences are outside of the galleries — interactive touch screens to tell you more about what you just saw.\u003c/p>\n\u003cp>Within the galleries themselves, how much tech to use has been an ongoing question, Winesmith says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Most museums, especially art museums, are trying to balance this intent that they have about creating a really quiet or an engaged, almost religious commune with the art — with this real strong need to be relevant to modern audiences, to millennial audiences, to attract new audiences,” he says.\u003c/p>\n\u003cp>And Winesmith says they built an app for that. You can download it to your own phone.\u003c/p>\n\u003cp>At first it may seem like a creative take on traditional museum tours narrated by a variety of people, including one by the high-wire artist Philippe Petit.\u003c/p>\n\u003cp>The guide will tell you to turn left, or right, or go up the stairs to find a particular work of art or a collection. But it won’t start telling you about the art until you’re right in front of it, because the GPS is accurate enough to know your precise location.\u003c/p>\n\u003cp>“We described it as an eyes-up experience, a phone-in-pocket experience,” says Winesmith. “So, really, we wanted the device out of people’s hands because we want people \u003cem>not\u003c/em> playing on their devices when they’re in the museum.”\u003c/p>\n\u003cp>Other museums are more cautious about introducing digital technology into the galleries, even here in the heart of Silicon Valley.\u003c/p>\n\u003cfigure id=\"attachment_11594427\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg\" alt=\"People walk up to the entrance to the new SFMOMA.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11594427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People walk up to the entrance to the new SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Connie Wolf, the director of the \u003ca href=\"http://museum.stanford.edu/index.html\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center at Stanford University\u003c/a>, is taking a cautious approach. “In our busy lives, in our crazy lives, we’re always connected to technology,” she says. “People want to come into museums and put that technology aside for a moment.”\u003c/p>\n\u003cp>The Cantor does hand out some very old technology: packages of colored pencils and sketching paper for students and families. “You can walk through our museum at any point and there’s some kid lying on the floor looking at a work of art and drawing,” Wolf says. “And there’s no better way to experience art than to really be active in looking.”\u003c/p>\n\u003cp>Still, she says, they don’t ban mobile devices from the galleries. People are allowed to take photos, including selfies. When they share the photos, it’s great publicity for the museum.\u003c/p>\n\u003cp>For some museums, even photography is too much.\u003c/p>\n\u003cp>Kate Levin at Bloomberg Philanthropies oversees a program that has handed out $83 million to museums — including SFMOMA — to experiment with ways that technology may help enhance the museum experience. She says some institutions have even found photography and selfies a little \u003cem>dangerous\u003c/em>.\u003c/p>\n\u003cp>“It wasn’t just that everybody trying to look at a work of art had to brave a thicket of cellphones,” says Levin, “but that to get the good shot, people were starting to back up into each other and into the furniture.”\u003c/p>\n\u003cp>As SFMOMA opens its doors to the public, Winesmith says, museum officials are nervously waiting to see what happens. In tests, people still looked down at the app.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s something about that beautiful shiny screen that’s so attractive,” Winesmith says. “People still have that phone out and are still looking down a lot more than we’d like.” \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=Too+Much+Technology+Can+Spoil+Your+Warhol+Experience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at art is the core museum experience. I remember, when I was a kid, seeing Van Gogh’s \u003cem>Starry Night\u003c/em> for the first time. I stood for what seemed like hours, staring at the thick paint and swirling colors in a quiet gallery at the Museum of Modern Art in New York.\u003c/p>\n\u003cp>But San Francisco is not just any city. “Silicon Valley, San Francisco, is a place of innovation, and so we feel quite a strong pressure to play a role in that in the museum space,” says Keir Winesmith, head of Web and digital platforms at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The museum reopened this weekend after a three-year closure \u003ca href=\"https://www.sfmoma.org/about/our-expansion-2016/\" target=\"_blank\" rel=\"noopener\">to build an addition\u003c/a>. Its expanded collection includes works by modern icons such as Andy Warhol, Mark Rothko and Richard Serra, and some new interactive technology. And like a growing number of museums, the San Francisco MOMA hopes the new tech doesn’t get in the way of looking at the art.\u003c/p>\n\u003cfigure id=\"attachment_11594426\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg\" alt=\"A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\" width=\"640\" height=\"479\" class=\"size-large wp-image-11594426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\u003c/figcaption>\u003c/figure>\n\u003cp>Winesmith gave me a walk-through of new technological features in this museum in the heart of downtown San Francisco. Most of the experiences are outside of the galleries — interactive touch screens to tell you more about what you just saw.\u003c/p>\n\u003cp>Within the galleries themselves, how much tech to use has been an ongoing question, Winesmith says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Most museums, especially art museums, are trying to balance this intent that they have about creating a really quiet or an engaged, almost religious commune with the art — with this real strong need to be relevant to modern audiences, to millennial audiences, to attract new audiences,” he says.\u003c/p>\n\u003cp>And Winesmith says they built an app for that. You can download it to your own phone.\u003c/p>\n\u003cp>At first it may seem like a creative take on traditional museum tours narrated by a variety of people, including one by the high-wire artist Philippe Petit.\u003c/p>\n\u003cp>The guide will tell you to turn left, or right, or go up the stairs to find a particular work of art or a collection. But it won’t start telling you about the art until you’re right in front of it, because the GPS is accurate enough to know your precise location.\u003c/p>\n\u003cp>“We described it as an eyes-up experience, a phone-in-pocket experience,” says Winesmith. “So, really, we wanted the device out of people’s hands because we want people \u003cem>not\u003c/em> playing on their devices when they’re in the museum.”\u003c/p>\n\u003cp>Other museums are more cautious about introducing digital technology into the galleries, even here in the heart of Silicon Valley.\u003c/p>\n\u003cfigure id=\"attachment_11594427\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg\" alt=\"People walk up to the entrance to the new SFMOMA.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11594427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People walk up to the entrance to the new SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Connie Wolf, the director of the \u003ca href=\"http://museum.stanford.edu/index.html\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center at Stanford University\u003c/a>, is taking a cautious approach. “In our busy lives, in our crazy lives, we’re always connected to technology,” she says. “People want to come into museums and put that technology aside for a moment.”\u003c/p>\n\u003cp>The Cantor does hand out some very old technology: packages of colored pencils and sketching paper for students and families. “You can walk through our museum at any point and there’s some kid lying on the floor looking at a work of art and drawing,” Wolf says. “And there’s no better way to experience art than to really be active in looking.”\u003c/p>\n\u003cp>Still, she says, they don’t ban mobile devices from the galleries. People are allowed to take photos, including selfies. When they share the photos, it’s great publicity for the museum.\u003c/p>\n\u003cp>For some museums, even photography is too much.\u003c/p>\n\u003cp>Kate Levin at Bloomberg Philanthropies oversees a program that has handed out $83 million to museums — including SFMOMA — to experiment with ways that technology may help enhance the museum experience. She says some institutions have even found photography and selfies a little \u003cem>dangerous\u003c/em>.\u003c/p>\n\u003cp>“It wasn’t just that everybody trying to look at a work of art had to brave a thicket of cellphones,” says Levin, “but that to get the good shot, people were starting to back up into each other and into the furniture.”\u003c/p>\n\u003cp>As SFMOMA opens its doors to the public, Winesmith says, museum officials are nervously waiting to see what happens. In tests, people still looked down at the app.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s something about that beautiful shiny screen that’s so attractive,” Winesmith says. “People still have that phone out and are still looking down a lot more than we’d like.” \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=Too+Much+Technology+Can+Spoil+Your+Warhol+Experience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Emilio Navaira, a legend in the Tejano music scene, has died at 53.\u003c/p>\n\u003cp>Navaira was found unconscious at his home on Monday night, according to police in New Braunfels, Texas. Police say he appears to have died of natural causes.\u003c/p>\n\u003cp>The singer — known to many as simply “Emilio” — was famous in both the U.S. and Mexico. He was a Tejano superstar who shared the stage with Selena several times and became \u003ca href=\"http://www.spokesman.com/stories/1996/may/01/king-of-tejano-after-death-of-female-tejano-star/\" target=\"_blank\" rel=\"noopener\">the most prominent figure in the genre\u003c/a> after Selena’s death.\u003c/p>\n\u003cp>“He was riding that wave of when Tejano was strong,” A.B. Quintanilla, Selena’s brother, \u003ca href=\"http://www.npr.org/2016/05/17/478417145/tejano-music-king-emilio-navaira-dies-at-53\" target=\"_blank\" rel=\"noopener\">told All Things Considered\u003c/a>. “The ladies loved him, you know what I’m saying, and he packed the houses.”\u003c/p>\n\u003cp>But he also found crossover success with English-language country songs, such as “It’s Not the End of the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6iJnQ4_JIDA\u003c/p>\n\u003cp>In 1995, Navaira told NPR that switching languages and genres wasn’t much of a stretch.\u003c/p>\n\u003cp>“Being a Tejano singer, I’ve always sang country — so all my audience knows already. The audience that I have in the Latin world knows I’ve been doing this for a while,” he said.\u003c/p>\n\u003cp>“It’s more a surprise to the people who don’t know Emilio as a Latin star — that all of a sudden, ‘Where’s this guy coming from? Where does he have this following?’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emilio’s following is now in mourning: News 4 San Antonio has collected \u003ca href=\"http://news4sanantonio.com/news/local/tejano-music-icon-emilio-navaira-dies-at-53\" target=\"_blank>some of the remembrances</a> on social media.</p>\n<p>In 2008, Navaira was seriously injured in a bus crash; it was later determined he had been <a href=\" http: https: 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=Tejano+Music+Legend+Emilio+Navaira+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\n\u003c/a>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emilio Navaira, a legend in the Tejano music scene, has died at 53.\u003c/p>\n\u003cp>Navaira was found unconscious at his home on Monday night, according to police in New Braunfels, Texas. Police say he appears to have died of natural causes.\u003c/p>\n\u003cp>The singer — known to many as simply “Emilio” — was famous in both the U.S. and Mexico. He was a Tejano superstar who shared the stage with Selena several times and became \u003ca href=\"http://www.spokesman.com/stories/1996/may/01/king-of-tejano-after-death-of-female-tejano-star/\" target=\"_blank\" rel=\"noopener\">the most prominent figure in the genre\u003c/a> after Selena’s death.\u003c/p>\n\u003cp>“He was riding that wave of when Tejano was strong,” A.B. Quintanilla, Selena’s brother, \u003ca href=\"http://www.npr.org/2016/05/17/478417145/tejano-music-king-emilio-navaira-dies-at-53\" target=\"_blank\" rel=\"noopener\">told All Things Considered\u003c/a>. “The ladies loved him, you know what I’m saying, and he packed the houses.”\u003c/p>\n\u003cp>But he also found crossover success with English-language country songs, such as “It’s Not the End of the World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6iJnQ4_JIDA'\n title='//www.youtube.com/embed/6iJnQ4_JIDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1995, Navaira told NPR that switching languages and genres wasn’t much of a stretch.\u003c/p>\n\u003cp>“Being a Tejano singer, I’ve always sang country — so all my audience knows already. The audience that I have in the Latin world knows I’ve been doing this for a while,” he said.\u003c/p>\n\u003cp>“It’s more a surprise to the people who don’t know Emilio as a Latin star — that all of a sudden, ‘Where’s this guy coming from? Where does he have this following?’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emilio’s following is now in mourning: News 4 San Antonio has collected \u003ca href=\"http://news4sanantonio.com/news/local/tejano-music-icon-emilio-navaira-dies-at-53\" target=\"_blank>some of the remembrances</a> on social media.</p>\n<p>In 2008, Navaira was seriously injured in a bus crash; it was later determined he had been <a href=\" http: https: 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=Tejano+Music+Legend+Emilio+Navaira+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\n\u003c/a>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "\"People Want These Stories\": Women Win Big at the Nebula Awards",
"headTitle": "“People Want These Stories”: Women Win Big at the Nebula Awards | KQED",
"content": "\u003cp>\u003ca href=\"http://www.ktempestbradford.com\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003c/em>\u003c/a>The wave of conversation about diversity and representation in fiction is about to crest again: Women swept this year’s Nebula Awards, handed out this past weekend in Chicago.\u003c/p>\n\u003cp>All of the fiction awards — for short story, novelette, novella, novel, and the Andre Norton Award for Young Adult novels — went to women authors, and \u003cem>Mad Max: Fury Road\u003c/em> (a film NPR’s Chris Kilmek called a “\u003ca href=\"http://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">boldly feminist chase flick\u003c/a>“) won the Ray Bradbury Award for dramatic presentation. (The Solstice Award — given occasionally at the discretion of the SFWA board to people who’ve made a big impact in the field — did go to a man, the late Terry Pratchett.) In some ways the winners, and the full nominating ballot they were chosen from, represent a local, genre-specific eddy of change in the larger ocean of literature.\u003c/p>\n\u003cp>“I think it is a product of our time that great stories, diverse stories, are appearing and being celebrated,” says Sarah Pinsker, whose story “\u003ca href=\"http://www.sarahpinsker.com/our_lady_of_the_open_road/\">Our Lady of the Open Road\u003c/a>” won best novelette.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003ch2>2015 Nebula Award Winners\u003c/h2>\n\u003ch4>Best Novel: ‘Uprooted’ by Naomi Novik\u003c/h4>\n\u003ch4>Best Novella: ‘Binti’ by Nnedi Okorafor\u003c/h4>\n\u003ch4>Best Novelette: ‘Our Lady of the Open Road’ by Sarah Pinsker\u003c/h4>\n\u003ch4>Best Short Story: “Hungry Daughters of Starving Mothers” by Alyssa Wong\u003c/h4>\n\u003ch4>Andre Norton Award for Best Young Adult Science Fiction and Fantasy: ‘Updraft’ by Fran Wilde\u003c/h4>\n\u003ch4>Ray Bradbury Award for Outstanding Dramatic Presentation: ‘Mad Max: Fury Road’ Written by George Miller, Brendan McCarthy, Nick Lathouris\u003c/h4>\n\u003ch4>Solstice Award: Terry Pratchett\u003c/h4>\n\u003c/aside>\n\u003cp>The Nebulas are nominated by and voted on by the members of the Science Fiction and Fantasy Writers of America (SFWA), an organization made up of working writers, editors, and other publishing professionals. They’re given out during the group’s annual conference, which is dedicated to celebrating, educating, and supporting genre writers.\u003c/p>\n\u003cp>This year’s celebration started with the presentation of the SFWA Grand Master award to C. J. Cherryh, honoring her lifetime contributions to the science fiction and fantasy field. Then, in category after category, authors like Alyssa Wong, Nnedi Okorafor, and Naomi Novik took home glittering nebulae and planet replicas encased in clear Lucite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To some observers, this might signal a dramatic shift in the science fiction and fantasy genres, which are often perceived as being a (white) boys’ club that’s only recently begun to diversify. But that’s not the whole picture, as the Nebulas themselves prove. This isn’t the first time women have swept the awards; you have to go back to the late 1960s and early 1970s, the very beginning of the Nebulas, to find a group of years dominated by men — and even then the list of nominees included women and one of the men consistently winning was African-American author Samuel R Delany.\u003c/p>\n\u003cp>This weekend’s winners reflect many different types of diversity beyond gender. Half are women of color, half are self-identified queer women – which mirrors the overall diversity of the ballot. 24 out of the 34 works nominated for the award were written by women from multiple racial and cultural backgrounds and a spectrum of sexual orientations. Of the 10 works by men, five of them were written by people of color and queer authors.\u003c/p>\n\u003cp>“The Nebula ballot is everything a ballot should be in this community,” said Brooke Bolander, author of the nominated story “\u003ca href=\"http://www.lightspeedmagazine.com/fiction/shall-know-trail-dead/\" target=\"_blank\" rel=\"noopener\">And You Shall Know Her by the Trail of Dead\u003c/a>.”\u003cem> \u003c/em>“It’s diverse, it’s wide-ranging, and it includes amazing stories by amazing authors.”\u003c/p>\n\u003cp>That’s an important point, given the ongoing conversation about diversity happening now in speculative fiction circles. The Hugos — the other major awards in the genre — are nominated by fans. Last year and again this year, Hugo nominations have been affected by the \u003ca href=\"http://www.npr.org/2015/08/19/432910333/as-more-women-minorities-win-hugos-sad-puppies-blast-sci-fi-awards\" target=\"_blank\" rel=\"noopener\">Sad and Rabid Puppies groups\u003c/a>, who campaign against what they see as affirmative action-based nominating and voting in the Hugo and Nebula awards.\u003c/p>\n\u003cp>But “people want these stories,” says Alyssa Wong. She was the first Filipino author to be nominated for the Nebula award last year and is now the first to win it for her 2015 short story “\u003ca href=\"http://www.nightmare-magazine.com/fiction/hungry-daughters-of-starving-mothers/\" target=\"_blank\" rel=\"noopener\">Hungry Daughters of Starving Mothers\u003c/a>.”\u003cem> \u003c/em>Though she says she’s seen some Puppy-style criticism of her success, most of the reaction has been positive.\u003c/p>\n\u003cp>Readers “want to read stories from the points of view of people who have been historically been locked out of the genre,” Wong says. “‘Hungry Daughters’ is about a group of women who are all Asian-American and all from very different backgrounds, all of whom feel isolated in some way … But clearly this is not just Asian-American audiences who this is resonating with. I’m appreciative that people are reading more widely now. It means more opportunities — not just to be published, but to be seen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ktempestbradford.com\" target=\"_blank\" rel=\"noopener\">Tempest Bradford\u003c/a> \u003cem>is a speculative fiction author, media critic, podcaster, vlogger, and issuer of the\u003c/em> \u003ca href=\"http://challenge.ktempestbradford.com\" target=\"_blank\" rel=\"noopener\">Tempest Challenge\u003c/a>. \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=%27People+Want+These+Stories%27%3A+Women+Win+Big+At+The+Nebula+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.ktempestbradford.com\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003c/em>\u003c/a>The wave of conversation about diversity and representation in fiction is about to crest again: Women swept this year’s Nebula Awards, handed out this past weekend in Chicago.\u003c/p>\n\u003cp>All of the fiction awards — for short story, novelette, novella, novel, and the Andre Norton Award for Young Adult novels — went to women authors, and \u003cem>Mad Max: Fury Road\u003c/em> (a film NPR’s Chris Kilmek called a “\u003ca href=\"http://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">boldly feminist chase flick\u003c/a>“) won the Ray Bradbury Award for dramatic presentation. (The Solstice Award — given occasionally at the discretion of the SFWA board to people who’ve made a big impact in the field — did go to a man, the late Terry Pratchett.) In some ways the winners, and the full nominating ballot they were chosen from, represent a local, genre-specific eddy of change in the larger ocean of literature.\u003c/p>\n\u003cp>“I think it is a product of our time that great stories, diverse stories, are appearing and being celebrated,” says Sarah Pinsker, whose story “\u003ca href=\"http://www.sarahpinsker.com/our_lady_of_the_open_road/\">Our Lady of the Open Road\u003c/a>” won best novelette.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003ch2>2015 Nebula Award Winners\u003c/h2>\n\u003ch4>Best Novel: ‘Uprooted’ by Naomi Novik\u003c/h4>\n\u003ch4>Best Novella: ‘Binti’ by Nnedi Okorafor\u003c/h4>\n\u003ch4>Best Novelette: ‘Our Lady of the Open Road’ by Sarah Pinsker\u003c/h4>\n\u003ch4>Best Short Story: “Hungry Daughters of Starving Mothers” by Alyssa Wong\u003c/h4>\n\u003ch4>Andre Norton Award for Best Young Adult Science Fiction and Fantasy: ‘Updraft’ by Fran Wilde\u003c/h4>\n\u003ch4>Ray Bradbury Award for Outstanding Dramatic Presentation: ‘Mad Max: Fury Road’ Written by George Miller, Brendan McCarthy, Nick Lathouris\u003c/h4>\n\u003ch4>Solstice Award: Terry Pratchett\u003c/h4>\n\u003c/aside>\n\u003cp>The Nebulas are nominated by and voted on by the members of the Science Fiction and Fantasy Writers of America (SFWA), an organization made up of working writers, editors, and other publishing professionals. They’re given out during the group’s annual conference, which is dedicated to celebrating, educating, and supporting genre writers.\u003c/p>\n\u003cp>This year’s celebration started with the presentation of the SFWA Grand Master award to C. J. Cherryh, honoring her lifetime contributions to the science fiction and fantasy field. Then, in category after category, authors like Alyssa Wong, Nnedi Okorafor, and Naomi Novik took home glittering nebulae and planet replicas encased in clear Lucite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To some observers, this might signal a dramatic shift in the science fiction and fantasy genres, which are often perceived as being a (white) boys’ club that’s only recently begun to diversify. But that’s not the whole picture, as the Nebulas themselves prove. This isn’t the first time women have swept the awards; you have to go back to the late 1960s and early 1970s, the very beginning of the Nebulas, to find a group of years dominated by men — and even then the list of nominees included women and one of the men consistently winning was African-American author Samuel R Delany.\u003c/p>\n\u003cp>This weekend’s winners reflect many different types of diversity beyond gender. Half are women of color, half are self-identified queer women – which mirrors the overall diversity of the ballot. 24 out of the 34 works nominated for the award were written by women from multiple racial and cultural backgrounds and a spectrum of sexual orientations. Of the 10 works by men, five of them were written by people of color and queer authors.\u003c/p>\n\u003cp>“The Nebula ballot is everything a ballot should be in this community,” said Brooke Bolander, author of the nominated story “\u003ca href=\"http://www.lightspeedmagazine.com/fiction/shall-know-trail-dead/\" target=\"_blank\" rel=\"noopener\">And You Shall Know Her by the Trail of Dead\u003c/a>.”\u003cem> \u003c/em>“It’s diverse, it’s wide-ranging, and it includes amazing stories by amazing authors.”\u003c/p>\n\u003cp>That’s an important point, given the ongoing conversation about diversity happening now in speculative fiction circles. The Hugos — the other major awards in the genre — are nominated by fans. Last year and again this year, Hugo nominations have been affected by the \u003ca href=\"http://www.npr.org/2015/08/19/432910333/as-more-women-minorities-win-hugos-sad-puppies-blast-sci-fi-awards\" target=\"_blank\" rel=\"noopener\">Sad and Rabid Puppies groups\u003c/a>, who campaign against what they see as affirmative action-based nominating and voting in the Hugo and Nebula awards.\u003c/p>\n\u003cp>But “people want these stories,” says Alyssa Wong. She was the first Filipino author to be nominated for the Nebula award last year and is now the first to win it for her 2015 short story “\u003ca href=\"http://www.nightmare-magazine.com/fiction/hungry-daughters-of-starving-mothers/\" target=\"_blank\" rel=\"noopener\">Hungry Daughters of Starving Mothers\u003c/a>.”\u003cem> \u003c/em>Though she says she’s seen some Puppy-style criticism of her success, most of the reaction has been positive.\u003c/p>\n\u003cp>Readers “want to read stories from the points of view of people who have been historically been locked out of the genre,” Wong says. “‘Hungry Daughters’ is about a group of women who are all Asian-American and all from very different backgrounds, all of whom feel isolated in some way … But clearly this is not just Asian-American audiences who this is resonating with. I’m appreciative that people are reading more widely now. It means more opportunities — not just to be published, but to be seen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ktempestbradford.com\" target=\"_blank\" rel=\"noopener\">Tempest Bradford\u003c/a> \u003cem>is a speculative fiction author, media critic, podcaster, vlogger, and issuer of the\u003c/em> \u003ca href=\"http://challenge.ktempestbradford.com\" target=\"_blank\" rel=\"noopener\">Tempest Challenge\u003c/a>. \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=%27People+Want+These+Stories%27%3A+Women+Win+Big+At+The+Nebula+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent March morning at his home in a New Jersey suburb, Anthony Mendez was on his living room couch with his 9-year-old daughter. He was watching the previous night’s episode of \u003cem>Jane the Virgin\u003c/em>, studying his own performance as the show’s unseen narrator.\u003c/p>\n\u003cp>“I’m like, ‘That’s Daddy,’ and she’s on her computer, not even looking up. She says, ‘I know.’ And I’m like, ‘That’s Daddy — you’re not even impressed?’ And she’s like, ‘I’m on YouTube,’ ” Mendez says. His daughter — one of three kids — runs a YouTube channel where she vlogs about makeup with her sister.\u003c/p>\n\u003cp>This is the sort of thing Mendez says helps keep him grounded.\u003c/p>\n\u003cp>Still, Mendez’s ability to turn an omniscient narrator into one of \u003cem>Jane\u003c/em>‘s funniest characters has gotten him plenty of attention. He’s been described by people as \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/05/11/jane_the_virgin_s_narrator_is_the_best_thing_about_the_cw_show.html\" target=\"_blank\" rel=\"noopener\">“the best thing about the show\u003c/a>” and “\u003ca href=\"http://www.nytimes.com/2015/08/20/arts/television/jane-the-virgin-narrator-on-his-role-and-his-emmy-nomination.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the show’s most entertaining characters\u003c/a>,” and is \u003ca href=\"http://forums.previously.tv/topic/20930-latin-lover-narrator-dramatic-pause-typed-sounds-almost-certainly-not-a-virgin-bang-hashtag-hotness/\">growing a small cult following\u003c/a> on the Internet.\u003c/p>\n\u003cp>His voice-overs recap the show’s dramatic, telenovela-style plots: Jane, a 23-year-old virgin, was accidentally artificially inseminated; the father just happens to be a playboy hotel owner she once kissed; the doctor who accidentally inseminated her is the father’s \u003cem>sister\u003c/em>; and so on and so on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3JPNVHRNCrY\u003c/p>\n\u003cp>But Mendez’s performance is unique from other narrator roles because of its comedic timing and punch. In an episode in which Jane goes to her high school reunion, Mendez’s voice swoops in to introduce us to Stephanie Kovakovich, a mean girl who Jane used to beef with. A string of text — as if the narrator is typing it — appears on screen: \u003cem>Stephanie Kovakobitch\u003c/em>. “Oops,” the narrator apologizes, correcting his typing. “No, I meant it,” he says, changing it back to \u003cem>Kovakobitch\u003c/em>.\u003c/p>\n\u003cp>(Real-life Mendez is just as playful as his character. Before I arrive at his apartment, he posts a humble-braggy video to Snapchat and Instagram, in which he announces he has to clean his apartment before his NPR interview. The video pans to him nudging a plastic container under his bed.)\u003c/p>\n\u003cp>https://www.instagram.com/p/BDV4Un5otHd/\u003c/p>\n\u003cp>But his journey in finding this voice — one that encourages him to play with an accent instead of dampen it — came after years of career change and trying to fit himself to a mold.\u003c/p>\n\u003ch3>Finding His Voice\u003c/h3>\n\u003cp>\u003cstrong>\u003c/strong>A typical kid, Mendez loved comics. They fed his imagination and were a break from a more serious, less typical childhood: He sold headstones at the family business — and even designed a six-crypt mausoleum as he got older. Mendez’s dad, who immigrated to the states from the Dominican Republic, worked in a tombstone factory before opening his own business, and hoped Mendez would take it over with his three other brothers.\u003c/p>\n\u003cp>But Mendez had other ideas. He studied architecture — the most creative major he thought he could get away with — for a short while at the New Jersey Institute of Technology. After that, he tried pursuing a career in producing reggae, struggling so much in the early 2000s he thought he’d be homeless.\u003c/p>\n\u003cp>“In your mind, you’re like, ‘No, I’m gonna show them, I’m gonna show them,’ ” Mendez recalls feeling about his parents, who hadn’t wanted him to leave their business. “But, you know, it takes eight to 10 years to show them, so at the beginning when I was struggling, they said, ‘Come back to the family business,’ and I actually agreed to do it.”\u003c/p>\n\u003cp>But Mendez said he had a nightmare that stopped him from returning. He dreamed he was trapped and anxious, working at a headstone factory forever.\u003c/p>\n\u003cfigure id=\"attachment_11587904\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg\" alt=\"Mendez stands in his bedroom recording studio.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez stands in his bedroom recording studio. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So he fell back on something he had all along: his voice. People always said there was a Mendez voice — his grandfather, his father, his brothers all had it — that was deep and booming.\u003c/p>\n\u003cp>“In high school when I would read in Spanish, especially, some of the girls would ask me to do it again … and that kind of took me back, like, ‘Huh, there’s something there,’ ” Mendez says.\u003c/p>\n\u003cp>He signed up for voice-over classes and learned his Dominican-New York-New Jersey upbringing made things complicated. During one class, he’d just finished recording a track in the studio and his classmates were on the other side of the glass, observing. They thought he couldn’t hear their reaction to his voice-over.\u003c/p>\n\u003cp>“You heard everyone in the room talking about, ‘What accent is that?’ where they had never heard someone in voice-over who had an urban, Latino, New York, New Jersey mixture. So they were like, ‘That’s urban. That’s urban,’ ” Mendez says. This insistence on labeling him one thing — which \u003ca href=\"http://www.huffingtonpost.com/anthony-mendez/any-voiceover-actor-american-latino-need-follow_b_8281352.html\" target=\"_blank\" rel=\"noopener\">he’s written about before\u003c/a> — was an issue he ran into with talent managers, too. He was sent African-American voice-over roles and Spanish-speaking ones, but rarely received ones meant for the general market.\u003c/p>\n\u003cp>“[Managers] were like, ‘Oh, you’ve got an accent. You’re not gonna do it,’ ” Mendez says. His goal was to learn to talk without his accent but not lose it entirely.\u003c/p>\n\u003cp>So in his makeshift studio, in the bedroom he shares with his wife, recording out of a small closet that’s lined with board games and books to absorb the sound, he created a workout he calls VO 90 X — like boot camp for your voice — with which he spent 30 minutes daily for 90 days, intensely working on sounds.\u003c/p>\n\u003cp>His L’s, N’s, M’s and R’s, he says, are weaker than standard American English. He studied how people’s inflections and tongue placements change depending on what accents they’re taking on. “Grandmother” in standard American English has different syllable emphasis — “GRAND-mother” — than the word spoken with, say, English with a Dominican accent — “Grand-MO-ther.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/477737210/478209804\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>And it worked. Mendez began booking gigs with brands like \u003ca href=\"http://www.bustle.com/articles/47235-who-is-the-jane-the-virgin-narrator-youve-definitely-heard-anthony-mendezs-voice-before\" target=\"_blank\" rel=\"noopener\">CNN, Miller Lite and Target\u003c/a>, lending his voice to ads in both Spanish and English.\u003c/p>\n\u003cp>A few years ago, he got an email invitation to audition for a TV show — \u003cem>Jane the Virgin\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11587906\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg\" alt=\"Mendez reads from a 'Jane the Virgin' script in his bedroom recording studio. He records his voice-overs mostly from his home.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez reads from a ‘Jane the Virgin’ script in his bedroom recording studio. He records his voice-overs mostly from his home. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It said telenovela announcer with a Hispanic accent. The role literally said ‘Latin Lover Narrator.’ And I was like, I don’t wanna do this. This sounds like a joke. Stereotypical stuff. So I put it away,” he says. At first glance, Mendez thought it was yet another role poking fun at Latinos.\u003c/p>\n\u003cp>Then, later that day — before he had to pick his kids up from school — he pulled up the email again, and decided to give the audition a shot. Not knowing much about the narrator — \u003ca href=\"http://www.tvguide.com/news/jane-the-virgin-narrator/\" target=\"_blank\" rel=\"noopener\">who he was\u003c/a>, even — Mendez debated how the voice would sound.\u003c/p>\n\u003cp>“Initially I was going to do a standard telenovela announcer, which is what I call the Spanish Dracula, the ‘Telemundo guy,’ ” Mendez says. “I said an hour show with that guy is going to get really super annoying.”\u003c/p>\n\u003cp>He didn’t want the narrator to sound stereotypical, but he wanted people to hear a real connection to the Spanish language.\u003c/p>\n\u003cp>When asked about how his own father feels about his career, Mendez is equivocal. He says his parents, who returned to the Dominican Republic, don’t really watch \u003cem>Jane the Virgin\u003c/em>, but they understand he’s made a mark in a difficult industry. He might have left the family headstone business, but at least he’s successful on his own terms.\u003c/p>\n\u003cp>These days, as \u003cem>Jane \u003c/em>begins its between-season hiatus, Mendez is busy with his other voice-over gigs. And in a throwback to when he was a kid, he’s working on a \u003ca href=\"http://www.miketomb.tv/\">motion comic series\u003c/a> — a mix between audio book and animation — called \u003cem>Mike Tomb\u003c/em>. It’s about a Dominican-American guy named Mike Gonzalez.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Gonzalez’s goal? To break from the family tombstone industry and become a poet. \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=How+The+Narrator+Of+%27Jane+The+Virgin%27+Found+His+Voice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent March morning at his home in a New Jersey suburb, Anthony Mendez was on his living room couch with his 9-year-old daughter. He was watching the previous night’s episode of \u003cem>Jane the Virgin\u003c/em>, studying his own performance as the show’s unseen narrator.\u003c/p>\n\u003cp>“I’m like, ‘That’s Daddy,’ and she’s on her computer, not even looking up. She says, ‘I know.’ And I’m like, ‘That’s Daddy — you’re not even impressed?’ And she’s like, ‘I’m on YouTube,’ ” Mendez says. His daughter — one of three kids — runs a YouTube channel where she vlogs about makeup with her sister.\u003c/p>\n\u003cp>This is the sort of thing Mendez says helps keep him grounded.\u003c/p>\n\u003cp>Still, Mendez’s ability to turn an omniscient narrator into one of \u003cem>Jane\u003c/em>‘s funniest characters has gotten him plenty of attention. He’s been described by people as \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/05/11/jane_the_virgin_s_narrator_is_the_best_thing_about_the_cw_show.html\" target=\"_blank\" rel=\"noopener\">“the best thing about the show\u003c/a>” and “\u003ca href=\"http://www.nytimes.com/2015/08/20/arts/television/jane-the-virgin-narrator-on-his-role-and-his-emmy-nomination.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the show’s most entertaining characters\u003c/a>,” and is \u003ca href=\"http://forums.previously.tv/topic/20930-latin-lover-narrator-dramatic-pause-typed-sounds-almost-certainly-not-a-virgin-bang-hashtag-hotness/\">growing a small cult following\u003c/a> on the Internet.\u003c/p>\n\u003cp>His voice-overs recap the show’s dramatic, telenovela-style plots: Jane, a 23-year-old virgin, was accidentally artificially inseminated; the father just happens to be a playboy hotel owner she once kissed; the doctor who accidentally inseminated her is the father’s \u003cem>sister\u003c/em>; and so on and so on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3JPNVHRNCrY'\n title='//www.youtube.com/embed/3JPNVHRNCrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Mendez’s performance is unique from other narrator roles because of its comedic timing and punch. In an episode in which Jane goes to her high school reunion, Mendez’s voice swoops in to introduce us to Stephanie Kovakovich, a mean girl who Jane used to beef with. A string of text — as if the narrator is typing it — appears on screen: \u003cem>Stephanie Kovakobitch\u003c/em>. “Oops,” the narrator apologizes, correcting his typing. “No, I meant it,” he says, changing it back to \u003cem>Kovakobitch\u003c/em>.\u003c/p>\n\u003cp>(Real-life Mendez is just as playful as his character. Before I arrive at his apartment, he posts a humble-braggy video to Snapchat and Instagram, in which he announces he has to clean his apartment before his NPR interview. The video pans to him nudging a plastic container under his bed.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But his journey in finding this voice — one that encourages him to play with an accent instead of dampen it — came after years of career change and trying to fit himself to a mold.\u003c/p>\n\u003ch3>Finding His Voice\u003c/h3>\n\u003cp>\u003cstrong>\u003c/strong>A typical kid, Mendez loved comics. They fed his imagination and were a break from a more serious, less typical childhood: He sold headstones at the family business — and even designed a six-crypt mausoleum as he got older. Mendez’s dad, who immigrated to the states from the Dominican Republic, worked in a tombstone factory before opening his own business, and hoped Mendez would take it over with his three other brothers.\u003c/p>\n\u003cp>But Mendez had other ideas. He studied architecture — the most creative major he thought he could get away with — for a short while at the New Jersey Institute of Technology. After that, he tried pursuing a career in producing reggae, struggling so much in the early 2000s he thought he’d be homeless.\u003c/p>\n\u003cp>“In your mind, you’re like, ‘No, I’m gonna show them, I’m gonna show them,’ ” Mendez recalls feeling about his parents, who hadn’t wanted him to leave their business. “But, you know, it takes eight to 10 years to show them, so at the beginning when I was struggling, they said, ‘Come back to the family business,’ and I actually agreed to do it.”\u003c/p>\n\u003cp>But Mendez said he had a nightmare that stopped him from returning. He dreamed he was trapped and anxious, working at a headstone factory forever.\u003c/p>\n\u003cfigure id=\"attachment_11587904\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg\" alt=\"Mendez stands in his bedroom recording studio.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez stands in his bedroom recording studio. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So he fell back on something he had all along: his voice. People always said there was a Mendez voice — his grandfather, his father, his brothers all had it — that was deep and booming.\u003c/p>\n\u003cp>“In high school when I would read in Spanish, especially, some of the girls would ask me to do it again … and that kind of took me back, like, ‘Huh, there’s something there,’ ” Mendez says.\u003c/p>\n\u003cp>He signed up for voice-over classes and learned his Dominican-New York-New Jersey upbringing made things complicated. During one class, he’d just finished recording a track in the studio and his classmates were on the other side of the glass, observing. They thought he couldn’t hear their reaction to his voice-over.\u003c/p>\n\u003cp>“You heard everyone in the room talking about, ‘What accent is that?’ where they had never heard someone in voice-over who had an urban, Latino, New York, New Jersey mixture. So they were like, ‘That’s urban. That’s urban,’ ” Mendez says. This insistence on labeling him one thing — which \u003ca href=\"http://www.huffingtonpost.com/anthony-mendez/any-voiceover-actor-american-latino-need-follow_b_8281352.html\" target=\"_blank\" rel=\"noopener\">he’s written about before\u003c/a> — was an issue he ran into with talent managers, too. He was sent African-American voice-over roles and Spanish-speaking ones, but rarely received ones meant for the general market.\u003c/p>\n\u003cp>“[Managers] were like, ‘Oh, you’ve got an accent. You’re not gonna do it,’ ” Mendez says. His goal was to learn to talk without his accent but not lose it entirely.\u003c/p>\n\u003cp>So in his makeshift studio, in the bedroom he shares with his wife, recording out of a small closet that’s lined with board games and books to absorb the sound, he created a workout he calls VO 90 X — like boot camp for your voice — with which he spent 30 minutes daily for 90 days, intensely working on sounds.\u003c/p>\n\u003cp>His L’s, N’s, M’s and R’s, he says, are weaker than standard American English. He studied how people’s inflections and tongue placements change depending on what accents they’re taking on. “Grandmother” in standard American English has different syllable emphasis — “GRAND-mother” — than the word spoken with, say, English with a Dominican accent — “Grand-MO-ther.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/477737210/478209804\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>And it worked. Mendez began booking gigs with brands like \u003ca href=\"http://www.bustle.com/articles/47235-who-is-the-jane-the-virgin-narrator-youve-definitely-heard-anthony-mendezs-voice-before\" target=\"_blank\" rel=\"noopener\">CNN, Miller Lite and Target\u003c/a>, lending his voice to ads in both Spanish and English.\u003c/p>\n\u003cp>A few years ago, he got an email invitation to audition for a TV show — \u003cem>Jane the Virgin\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11587906\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg\" alt=\"Mendez reads from a 'Jane the Virgin' script in his bedroom recording studio. He records his voice-overs mostly from his home.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez reads from a ‘Jane the Virgin’ script in his bedroom recording studio. He records his voice-overs mostly from his home. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It said telenovela announcer with a Hispanic accent. The role literally said ‘Latin Lover Narrator.’ And I was like, I don’t wanna do this. This sounds like a joke. Stereotypical stuff. So I put it away,” he says. At first glance, Mendez thought it was yet another role poking fun at Latinos.\u003c/p>\n\u003cp>Then, later that day — before he had to pick his kids up from school — he pulled up the email again, and decided to give the audition a shot. Not knowing much about the narrator — \u003ca href=\"http://www.tvguide.com/news/jane-the-virgin-narrator/\" target=\"_blank\" rel=\"noopener\">who he was\u003c/a>, even — Mendez debated how the voice would sound.\u003c/p>\n\u003cp>“Initially I was going to do a standard telenovela announcer, which is what I call the Spanish Dracula, the ‘Telemundo guy,’ ” Mendez says. “I said an hour show with that guy is going to get really super annoying.”\u003c/p>\n\u003cp>He didn’t want the narrator to sound stereotypical, but he wanted people to hear a real connection to the Spanish language.\u003c/p>\n\u003cp>When asked about how his own father feels about his career, Mendez is equivocal. He says his parents, who returned to the Dominican Republic, don’t really watch \u003cem>Jane the Virgin\u003c/em>, but they understand he’s made a mark in a difficult industry. He might have left the family headstone business, but at least he’s successful on his own terms.\u003c/p>\n\u003cp>These days, as \u003cem>Jane \u003c/em>begins its between-season hiatus, Mendez is busy with his other voice-over gigs. And in a throwback to when he was a kid, he’s working on a \u003ca href=\"http://www.miketomb.tv/\">motion comic series\u003c/a> — a mix between audio book and animation — called \u003cem>Mike Tomb\u003c/em>. It’s about a Dominican-American guy named Mike Gonzalez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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