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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",
"headTitle": "Too Much Technology Can Spoil Your Warhol Experience | KQED",
"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>\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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"headTitle": "How The Narrator Of ‘Jane The Virgin’ Found His Voice | KQED",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "A Heavy Dose of Glitter, Pyrotechnics and Politics at Eurovision 2016",
"headTitle": "A Heavy Dose of Glitter, Pyrotechnics and Politics at Eurovision 2016 | KQED",
"content": "\u003cp>Another year, another grand spectacle at the Eurovision Song Contest.\u003c/p>\n\u003cp>At Saturday’s Grand Final in Stockholm, Sweden, there were \u003ca href=\"https://www.youtube.com/watch?v=cB8eSLyffsI\" target=\"_blank\" rel=\"noopener\">pyrotechnics and glitter\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=5ymFX91HwM0\" target=\"_blank\" rel=\"noopener\">power ballads\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=PQqUTigWKHY\" target=\"_blank\" rel=\"noopener\">light-up dresses\u003c/a> and costumes that \u003ca href=\"https://www.youtube.com/watch?v=8QUM-_EbE2o\" target=\"_blank\" rel=\"noopener\">rendered performers immobile\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=idUxTqmCFR0\" target=\"_blank\" rel=\"noopener\">Cypriot rockers performing\u003c/a> in smoke-filled cages, and \u003ca href=\"https://www.youtube.com/watch?v=XgGahKsBtts\" target=\"_blank\" rel=\"noopener\">British boy bands\u003c/a>. There \u003ca href=\"https://www.youtube.com/watch?v=nL066Rp7J7k\" target=\"_blank\" rel=\"noopener\">were capes\u003c/a>. (Unfortunately, there were no \u003ca href=\"https://www.youtube.com/watch?v=pM07r57QqGg\" target=\"_blank\" rel=\"noopener\">holograms of wolves\u003c/a> – Belarus was eliminated in the Semi-Final.)\u003c/p>\n\u003cp>The annual contest pits more than 40 countries against each other, as the Two-Way has reported \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">in this handy primer.\u003c/a> It draws tens of millions more viewers than the Super Bowl.\u003c/p>\n\u003cp>If you missed the live event yesterday, you can catch it on demand \u003ca href=\"http://www.logotv.com/full-episodes/51pift/eurovision-song-contest-2016-the-61st-annual-eurovision-song-contest-grand-final-ep-1\" target=\"_blank\" rel=\"noopener\">here\u003c/a> via its U.S. broadcaster, Logo.\u003c/p>\n\u003cp>Ukraine’s Jamala was the unexpected winner with her haunting song “1944,” which recounts the mass deportation of Crimean Tatars under Stalin’s orders during World War II.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B-rnM-MwRHY\u003c/p>\n\u003cp>To say this song is serious is an understatement. In fact, this is how it opens: “When strangers\u003cstrong> \u003c/strong>are coming / They come to your house / They kill you all, and say ‘we’re not guilty.’ … You think you are gods, but everyone dies.'”\u003c/p>\n\u003cp>Politics are never far from the glittery surface at Eurovision – indeed, \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/14/ukraine-wins-eurovision-jamala-1944\" target=\"_blank\" rel=\"noopener\">The Guardian says\u003c/a> it was “seen by many as the most politicised version of the competition to date.” Many have interpreted “1944” as a thinly-veiled anti-Russian anthem, considering Russia’s annexation of Crimea two years ago. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">As we reported,\u003c/a> Jamala, who is Tatar, maintains the song is “personal.”\u003c/p>\n\u003cp>However, speaking to \u003cem>the Guardian\u003c/em> after her win, she says it has current relevance:\u003c/p>\n\u003cblockquote>\n\u003cp>“Of course it’s about 2014 as well. These two years have added so much sadness to my life. Imagine – you’re a creative person, a singer, but you can’t go home for two years. You see your grandfather on Skype, who is 90 years old and ill, but you can’t visit him. What am I supposed to do: just sing nice songs and forget about it? Of course I can’t do that.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After her win, \u003ca href=\"http://www.eurovision.tv/live/live_the_winners_press_conference_with_jamala\" target=\"_blank\" rel=\"noopener\">she told reporters that\u003c/a> “I was sure that, if you sing about truth, it can really touch people. And I was right.” She added that she dedicated the performance to her great-grandmother and said she prepared for the performance by listening to the soundtrack of \u003cem>Schindler’s List.\u003c/em>\u003c/p>\n\u003cp>Russian officials have complained about the song, \u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/11/jamalas-ukraine-eurovision-song-stirs-up-russia/\" target=\"_blank\" rel=\"noopener\">\u003cem>the Telegraph \u003c/em>reports\u003c/a>, but “the Geneva-based organisers decided the song was not in breach of the competition’s rules against political speech.”\u003c/p>\n\u003cp>Russia is probably particularly unhappy with the result considering it was their entry that was heavily favored to win. Sergey Lazarev deployed particularly strong visuals (Wings! Glaciers! Lightning! Space!) in his performance of “You Are The Only One:”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e94dst20C9Y\u003c/p>\n\u003cp>Russia ended up in third, and Australia took the second-place spot.\u003c/p>\n\u003cp>Reporter Andrew Jones was in the arena in Stockholm and describes the suspense to The Two-Way:\u003c/p>\n\u003cblockquote>\n\u003cp>“There was lots of tension in the reveal. It’s a new format, which meant that it wasn’t clear until the very last result was read. So people were hunched forward in their seats staring at the results screen, unsure of what was going to happen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He adds that Australia had actually been in the top spot with only the votes of industry professionals counted, “and people were genuinely surprised when they lost their lead when the tele-voting was factored in.”\u003c/p>\n\u003cp>Here’s Australia’s entry, Dami Im’s soaring ballad “Sound of Silence,” which was the critic’s favorite:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ymFX91HwM0\u003c/p>\n\u003cp>Wondering why Australia is a part of the European contest? As we reported: “it’s basically because the Land Down Under is obsessed with the contest — and has been for a long time — so the [European Broadcasting Union] gave them an honorary membership of sorts.”\u003c/p>\n\u003cp>Eurovision also confronted the weighty topic of the refugee crisis \u003ca href=\"https://www.youtube.com/watch?v=YtF5WL5fhjA&index=6&list=PLxeDWjW-1i33tiF8CDPL40cQQC41sKmwm\" target=\"_blank\" rel=\"noopener\">with a dance highlighting their plight\u003c/a>. The performance (which aired during the U.S. broadcast between a Justin Timberlake interview and a spoof rendition of a perfect Eurovision act) shows the dancers apparently going through traumatic events before they are eventually presented with water to wash their ash-covered faces. They are then embraced by audience members and disappear in the crowd.\u003c/p>\n\u003cp>Mans Zelmerlow, this year’s co-presenter and last year’s winner, says: “It is more necessary than ever before that we unite and join together, and that is literally what we do in Eurovision, where most of the countries in Europe meet together. …We obviously want to touch upon [the crisis]: anything else would be to bury your head in the sand,” \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/08/eurovision-2016-latex-chiffon-politics-joe-jake\" target=\"_blank\" rel=\"noopener\">The Guardian reported\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winning act gets to host the next year’s competition – so that means next year’s event will take place in Kiev. \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+Heavy+Dose+Of+Glitter%2C+Pyrotechnics+and+Politics+At+Eurovision+2016&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another year, another grand spectacle at the Eurovision Song Contest.\u003c/p>\n\u003cp>At Saturday’s Grand Final in Stockholm, Sweden, there were \u003ca href=\"https://www.youtube.com/watch?v=cB8eSLyffsI\" target=\"_blank\" rel=\"noopener\">pyrotechnics and glitter\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=5ymFX91HwM0\" target=\"_blank\" rel=\"noopener\">power ballads\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=PQqUTigWKHY\" target=\"_blank\" rel=\"noopener\">light-up dresses\u003c/a> and costumes that \u003ca href=\"https://www.youtube.com/watch?v=8QUM-_EbE2o\" target=\"_blank\" rel=\"noopener\">rendered performers immobile\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=idUxTqmCFR0\" target=\"_blank\" rel=\"noopener\">Cypriot rockers performing\u003c/a> in smoke-filled cages, and \u003ca href=\"https://www.youtube.com/watch?v=XgGahKsBtts\" target=\"_blank\" rel=\"noopener\">British boy bands\u003c/a>. There \u003ca href=\"https://www.youtube.com/watch?v=nL066Rp7J7k\" target=\"_blank\" rel=\"noopener\">were capes\u003c/a>. (Unfortunately, there were no \u003ca href=\"https://www.youtube.com/watch?v=pM07r57QqGg\" target=\"_blank\" rel=\"noopener\">holograms of wolves\u003c/a> – Belarus was eliminated in the Semi-Final.)\u003c/p>\n\u003cp>The annual contest pits more than 40 countries against each other, as the Two-Way has reported \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">in this handy primer.\u003c/a> It draws tens of millions more viewers than the Super Bowl.\u003c/p>\n\u003cp>If you missed the live event yesterday, you can catch it on demand \u003ca href=\"http://www.logotv.com/full-episodes/51pift/eurovision-song-contest-2016-the-61st-annual-eurovision-song-contest-grand-final-ep-1\" target=\"_blank\" rel=\"noopener\">here\u003c/a> via its U.S. broadcaster, Logo.\u003c/p>\n\u003cp>Ukraine’s Jamala was the unexpected winner with her haunting song “1944,” which recounts the mass deportation of Crimean Tatars under Stalin’s orders during World War II.\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/B-rnM-MwRHY'\n title='//www.youtube.com/embed/B-rnM-MwRHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To say this song is serious is an understatement. In fact, this is how it opens: “When strangers\u003cstrong> \u003c/strong>are coming / They come to your house / They kill you all, and say ‘we’re not guilty.’ … You think you are gods, but everyone dies.'”\u003c/p>\n\u003cp>Politics are never far from the glittery surface at Eurovision – indeed, \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/14/ukraine-wins-eurovision-jamala-1944\" target=\"_blank\" rel=\"noopener\">The Guardian says\u003c/a> it was “seen by many as the most politicised version of the competition to date.” Many have interpreted “1944” as a thinly-veiled anti-Russian anthem, considering Russia’s annexation of Crimea two years ago. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">As we reported,\u003c/a> Jamala, who is Tatar, maintains the song is “personal.”\u003c/p>\n\u003cp>However, speaking to \u003cem>the Guardian\u003c/em> after her win, she says it has current relevance:\u003c/p>\n\u003cblockquote>\n\u003cp>“Of course it’s about 2014 as well. These two years have added so much sadness to my life. Imagine – you’re a creative person, a singer, but you can’t go home for two years. You see your grandfather on Skype, who is 90 years old and ill, but you can’t visit him. What am I supposed to do: just sing nice songs and forget about it? Of course I can’t do that.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After her win, \u003ca href=\"http://www.eurovision.tv/live/live_the_winners_press_conference_with_jamala\" target=\"_blank\" rel=\"noopener\">she told reporters that\u003c/a> “I was sure that, if you sing about truth, it can really touch people. And I was right.” She added that she dedicated the performance to her great-grandmother and said she prepared for the performance by listening to the soundtrack of \u003cem>Schindler’s List.\u003c/em>\u003c/p>\n\u003cp>Russian officials have complained about the song, \u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/11/jamalas-ukraine-eurovision-song-stirs-up-russia/\" target=\"_blank\" rel=\"noopener\">\u003cem>the Telegraph \u003c/em>reports\u003c/a>, but “the Geneva-based organisers decided the song was not in breach of the competition’s rules against political speech.”\u003c/p>\n\u003cp>Russia is probably particularly unhappy with the result considering it was their entry that was heavily favored to win. Sergey Lazarev deployed particularly strong visuals (Wings! Glaciers! Lightning! Space!) in his performance of “You Are The Only One:”\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/e94dst20C9Y'\n title='//www.youtube.com/embed/e94dst20C9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Russia ended up in third, and Australia took the second-place spot.\u003c/p>\n\u003cp>Reporter Andrew Jones was in the arena in Stockholm and describes the suspense to The Two-Way:\u003c/p>\n\u003cblockquote>\n\u003cp>“There was lots of tension in the reveal. It’s a new format, which meant that it wasn’t clear until the very last result was read. So people were hunched forward in their seats staring at the results screen, unsure of what was going to happen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He adds that Australia had actually been in the top spot with only the votes of industry professionals counted, “and people were genuinely surprised when they lost their lead when the tele-voting was factored in.”\u003c/p>\n\u003cp>Here’s Australia’s entry, Dami Im’s soaring ballad “Sound of Silence,” which was the critic’s favorite:\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/5ymFX91HwM0'\n title='//www.youtube.com/embed/5ymFX91HwM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wondering why Australia is a part of the European contest? As we reported: “it’s basically because the Land Down Under is obsessed with the contest — and has been for a long time — so the [European Broadcasting Union] gave them an honorary membership of sorts.”\u003c/p>\n\u003cp>Eurovision also confronted the weighty topic of the refugee crisis \u003ca href=\"https://www.youtube.com/watch?v=YtF5WL5fhjA&index=6&list=PLxeDWjW-1i33tiF8CDPL40cQQC41sKmwm\" target=\"_blank\" rel=\"noopener\">with a dance highlighting their plight\u003c/a>. The performance (which aired during the U.S. broadcast between a Justin Timberlake interview and a spoof rendition of a perfect Eurovision act) shows the dancers apparently going through traumatic events before they are eventually presented with water to wash their ash-covered faces. They are then embraced by audience members and disappear in the crowd.\u003c/p>\n\u003cp>Mans Zelmerlow, this year’s co-presenter and last year’s winner, says: “It is more necessary than ever before that we unite and join together, and that is literally what we do in Eurovision, where most of the countries in Europe meet together. …We obviously want to touch upon [the crisis]: anything else would be to bury your head in the sand,” \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/08/eurovision-2016-latex-chiffon-politics-joe-jake\" target=\"_blank\" rel=\"noopener\">The Guardian reported\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winning act gets to host the next year’s competition – so that means next year’s event will take place in Kiev. \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+Heavy+Dose+Of+Glitter%2C+Pyrotechnics+and+Politics+At+Eurovision+2016&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A 'Dark Horse' In The Elite World Of British Racing",
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"content": "\u003cp>Inspiration in Hollywood movies is often a matter of one plucky individual taking on a “system” and winning. For the Brits, such triumphs come deeply embedded in class, region, and national pride, and winning is neither guaranteed nor especially prized. The wonderful 2014 drama \u003cem>Pride\u003c/em> re-enacted a gratifyingly improbable, real-life alliance between gay Londoners and displaced Welsh miners during the bruising national strike of 1984. They lost to Margaret Thatcher, but the thrill lay in the fight and the fellow feeling that grew between two dispossessed communities taking control together.\u003c/p>\n\u003cp>Now comes \u003cem>Dark Horse\u003c/em>, a true tale of a racehorse bred in the backyard of another Welsh mining community depleted by pit closures. Directed by Louise Osmond with heart and a generous dab of slick, the doc plays out as a kind of caper. That’s in part because the the horse’s triumph at the Welsh National goes joyfully against the grain of British horse racing, a rich man’s sport where the poor are let in only to lose their shirts at the bookmakers.\u003c/p>\n\u003cp>https://youtu.be/L6GS3v0iOSU\u003c/p>\n\u003cp>Osmond, who also made a documentary about the discovery of King Richard III’s bones beneath a Leicester parking lot, presses harder than needed on the heroic narrative pedal. But she’s also wise enough to hand the storytelling over to the players, the exuberant, articulate leadership of a syndicate of 23 residents of the village of Cefn Fforest. Members of a working men’s club, they include a tax consultant, a nightclub bouncer who once delivered coal, and Jan, a lively barmaid with enormous drive and prior working experience breeding pigeons and whippets. All have scrambled to make a living since the coal industry collapsed.\u003c/p>\n\u003cp>But they’re a merry bunch of natural raconteurs with a musical Welsh lilt to the telling. Relaxed in front of a camera and thrilled to reminisce about their brief moment in the sun, they tell with pride and how each member of the syndicate paid 10 pounds a week so that a scrappy foal they named Dream Alliance could be bred from workaday parents with no racing genes to speak of. A top-flight trainer was hired to guide the horse to second place in the coveted Hennessy Gold Cup. After Dream suffered a near-fatal injury at Aintree, the group raised the money for experimental stem-cell surgery that allowed him to compete in the Welsh Grand National.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What happened there would likely end up as the climactic scene in most Hollywood versions of Dream Alliance’s career. And it’s true that \u003cem>Dark Horse\u003c/em> relies a bit too heavily on commercial race footage. Yet the movie grows into uplift of a whole other kind. As the villagers tell it, this was about Welsh pride and the solidarity of a community that pulled together to “do something when no one gives you a chance.” If any of the first investors saw Dream Alliance as a business opportunity — and why not, given their circumstances? — that didn’t make it into the movie. In any case, nobody made much money out of the horse’s moment in the sun. The villagers got a big kick out of poaching on elite terrain (“We’re riffraff!” one man crows), basked in their media stardom for a brief moment, then let go with grace and got on with their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Dream Alliance, a natural racer with a lustrous brown coat and a big white blaze streaking down his nose, he’s rapturously photographed by cinematographer Benjamin Kracun at home in the green mists that envelop this village, and finally, in retirement, cantering around a green paddock. As one of the villagers says, they’re happy that he’s happy “doing what he loves — nothing very much.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspiration in Hollywood movies is often a matter of one plucky individual taking on a “system” and winning. For the Brits, such triumphs come deeply embedded in class, region, and national pride, and winning is neither guaranteed nor especially prized. The wonderful 2014 drama \u003cem>Pride\u003c/em> re-enacted a gratifyingly improbable, real-life alliance between gay Londoners and displaced Welsh miners during the bruising national strike of 1984. They lost to Margaret Thatcher, but the thrill lay in the fight and the fellow feeling that grew between two dispossessed communities taking control together.\u003c/p>\n\u003cp>Now comes \u003cem>Dark Horse\u003c/em>, a true tale of a racehorse bred in the backyard of another Welsh mining community depleted by pit closures. Directed by Louise Osmond with heart and a generous dab of slick, the doc plays out as a kind of caper. That’s in part because the the horse’s triumph at the Welsh National goes joyfully against the grain of British horse racing, a rich man’s sport where the poor are let in only to lose their shirts at the bookmakers.\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/L6GS3v0iOSU'\n title='//www.youtube.com/embed/L6GS3v0iOSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Osmond, who also made a documentary about the discovery of King Richard III’s bones beneath a Leicester parking lot, presses harder than needed on the heroic narrative pedal. But she’s also wise enough to hand the storytelling over to the players, the exuberant, articulate leadership of a syndicate of 23 residents of the village of Cefn Fforest. Members of a working men’s club, they include a tax consultant, a nightclub bouncer who once delivered coal, and Jan, a lively barmaid with enormous drive and prior working experience breeding pigeons and whippets. All have scrambled to make a living since the coal industry collapsed.\u003c/p>\n\u003cp>But they’re a merry bunch of natural raconteurs with a musical Welsh lilt to the telling. Relaxed in front of a camera and thrilled to reminisce about their brief moment in the sun, they tell with pride and how each member of the syndicate paid 10 pounds a week so that a scrappy foal they named Dream Alliance could be bred from workaday parents with no racing genes to speak of. A top-flight trainer was hired to guide the horse to second place in the coveted Hennessy Gold Cup. After Dream suffered a near-fatal injury at Aintree, the group raised the money for experimental stem-cell surgery that allowed him to compete in the Welsh Grand National.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What happened there would likely end up as the climactic scene in most Hollywood versions of Dream Alliance’s career. And it’s true that \u003cem>Dark Horse\u003c/em> relies a bit too heavily on commercial race footage. Yet the movie grows into uplift of a whole other kind. As the villagers tell it, this was about Welsh pride and the solidarity of a community that pulled together to “do something when no one gives you a chance.” If any of the first investors saw Dream Alliance as a business opportunity — and why not, given their circumstances? — that didn’t make it into the movie. In any case, nobody made much money out of the horse’s moment in the sun. The villagers got a big kick out of poaching on elite terrain (“We’re riffraff!” one man crows), basked in their media stardom for a brief moment, then let go with grace and got on with their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Dream Alliance, a natural racer with a lustrous brown coat and a big white blaze streaking down his nose, he’s rapturously photographed by cinematographer Benjamin Kracun at home in the green mists that envelop this village, and finally, in retirement, cantering around a green paddock. As one of the villagers says, they’re happy that he’s happy “doing what he loves — nothing very much.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Through the Looking Glass: How Children's Books Have Grown Up",
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"content": "\u003cp>In Sarah Parrish’s second-grade classroom, the colors are loud, but the kids are quiet.\u003c/p>\n\u003cp>It’s Thursday morning. Her students sit at their desks, reading to themselves. Books about Ramona and Junie B. Jones. Mystery books, fantasy books …\u003c/p>\n\u003cp>Marisa Sotelino has just finished \u003cem>Horse Diaries #3: Koda\u003c/em>. She grins when asked about it, showing a mouthful of light green braces.\u003c/p>\n\u003cp>“It’s interesting to see other people, or animals’ point of view,” she explains, “because, well, you can’t \u003cem>be\u003c/em> a different person.”\u003c/p>\n\u003cp>Nearby, a boy named Alec Mahini talks about his love for fantasy books: “It makes me feel that I’m in the adventure kind of, like the narrator.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their teacher thinks all these genres — fantasy, mystery, biography — are worth reading. “Any book that can hook their interest is wonderful,” Parrish explains. “Because we want to encourage that reading. The fun and excitement of it — that kind of spark is really important.”\u003c/p>\n\u003cp>It might seem totally obvious: Children should read fun, fantastical books in the classroom and outside of it, so they can learn to love to read. But it turns out that this particular view of children’s books is relatively new.\u003c/p>\n\u003cp>American classrooms have had some form of children’s books since the 17th century, but the books teachers have used, and the way they use them, have changed dramatically. For our \u003ca href=\"http://www.npr.org/series/359620445/tools-of-the-trade\" target=\"_blank\" rel=\"noopener\">Tools of the Trade \u003c/a>series, we decided to go back to the beginning.\u003c/p>\n\u003cp>\u003cstrong>Chapter 1: Once upon a time (in the late 1600s), in a land far, far away (England), there lived a British philosopher named John Locke.\u003c/strong>\u003c/p>\n\u003cp>He’s mostly remembered for his works of political theory. But for our purposes, let’s focus on a \u003ca href=\"http://www.bartleby.com/37/1/\" target=\"_blank\" rel=\"noopener\">short book he wrote in 1693\u003c/a>, called \u003cem>Some Thoughts Concerning Education. \u003c/em>\u003c/p>\n\u003cp>Locke wanted to change education — and one of his big ideas was to make reading fun. The alphabet, he wrote, should be taught with dice games, and readers should start with “easy, pleasant” books, even books with pictures.\u003c/p>\n\u003cp> These are not unusual ideas today, but they were relatively new in their time. The first widely printed picture book for kids — the \u003ca href=\"http://www.gutenberg.org/files/28299/28299-h/28299-h.htm\" target=\"_blank\" rel=\"noopener\">Orbis Pictus\u003c/a> \u003cem>—\u003c/em> had been published only a few decades before, in 1658.\u003c/p>\n\u003cp>As Locke put it, ” … ’tis usually long before Learners find any Use or Pleasure in reading which may tempt them to it.”\u003c/p>\n\u003cp>The popular school books in Locke’s time, like the American \u003ca href=\"http://www.sacred-texts.com/chr/nep/1777/\" target=\"_blank\" rel=\"noopener\">New England Primer\u003c/a>\u003cem>, \u003c/em>were not about storytelling. The \u003cem>Primer \u003c/em>did have some pictures, but it was mostly tables of letters and syllables, used to help people learn to read the Bible.\u003c/p>\n\u003cp>As Locke’s theories took hold, both in England and in the United States, they shaped many of the children’s books that were published in the 1700s.\u003c/p>\n\u003cp>Take \u003cem>The History of Little Goody Two Shoes\u003c/em>, from 1765. It sticks closely to Locke’s educational model of making learning a game. Little \u003ca href=\"http://www.bl.uk/collection-items/the-history-of-little-goody-two-shoes\" target=\"_blank\" rel=\"noopener\">Margery Meanwell\u003c/a>, also known as Goody Two Shoes, grows up poor, but betters herself through charity and education. For most of the book, she goes around teaching spelling through games, as she does in this passage:\u003c/p>\n\u003cfigure id=\"attachment_11568076\" class=\"wp-caption alignright\" style=\"max-width: 356px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ba0011_enlarge_custom-c74dc7738977aac77c59b043de6e5e000709ddc7.jpg\" alt=\"An edition of the <em>The New England Primer</em>, from 1803.\" width=\"356\" height=\"441\" class=\"size-full wp-image-11568076\">\u003cfigcaption class=\"wp-caption-text\">An edition of the \u003cem>The New England Primer\u003c/em>, from 1803. \u003ccite>(Photo: Rare Book and Special Collections Division/Library Of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“The usual manner of spelling, or carrying on the game, as they called it, was this; supposed the word to be spelt was plumb pudding (and who can suppose better) the children were placed in a circle, and the first brought the letter p, the next l, the next u, the next m, the next b, and so on, until the whole was spelt; and if any one brought a wrong letter, he was to pay a fine, or play no more.”\u003c/p>\n\u003c/blockquote>\n\u003cp>But even though \u003cem>Goody Two Shoes\u003c/em> had a plot, it was not the kind of fantastical adventure we’re familiar with today.\u003c/p>\n\u003cp>“Locke was very suspicious of anything that might be thought to escape the real,” explains William Gleason, a professor of English at Princeton University who researches children’s literature.\u003c/p>\n\u003cp>“It doesn’t mean that there wasn’t any fantasy,” Gleason adds, “but the dominant strain — and particularly the strain that was educationally approved — was highly rationalized.”\u003c/p>\n\u003cp>\u003cstrong>Chapter 2: Then, we fell down the rabbit hole.\u003c/strong>\u003c/p>\n\u003cp>Lewis Carroll published \u003cem>Alice’s Adventures in Wonderland \u003c/em>in 1865.\u003c/p>\n\u003cp>“It offers such an amazing imagined world of curiosity that it really kind of changes the game,” says Gleason. \u003ca href=\"https://www.gutenberg.org/files/11/11-h/11-h.htm\" target=\"_blank\" rel=\"noopener\">Alice\u003c/a> kicked off a whole series of books that focused on imagination — \u003cem>Peter Pan, Tom Sawyer, The Little Princess, The Secret Garden — \u003c/em>books now considered staples of the “golden age” of children’s literature.\u003c/p>\n\u003cp>Gleason says these books were part of a shifting sense of what childhood really meant. In the late 1800s, a child, or, at least, a middle-class Anglo-American child, was becoming less of an economic unit and more of an emotional one. Childhood was seen as a space of protected innocence.\u003c/p>\n\u003cp>\u003cem>So Alice \u003c/em>embraced childhood curiosity and wonder, reinventing children’s books. She did not, however, reinvent the American classroom.\u003c/p>\n\u003cfigure id=\"attachment_11568077\" class=\"wp-caption alignright\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alice_par_john_tenniel_30-10748a63687640c52692ac4835378dd0ecac2ea4.png\" alt=\"Alice attempting to play croquet using a flamingo in 'Alice's Adventures in Wonderland.'\" width=\"472\" height=\"354\" class=\"size-full wp-image-11568077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alice_par_john_tenniel_30-10748a63687640c52692ac4835378dd0ecac2ea4.png 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alice_par_john_tenniel_30-10748a63687640c52692ac4835378dd0ecac2ea4-400x300.png 400w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">Alice attempting to play croquet using a flamingo in ‘Alice’s Adventures in Wonderland.’ \u003ccite>(Photo: John Tenniel - Alice's Adventures in Wonderland/Wikipedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Books like \u003cem>Alice’s Adventures in Wonderland\u003c/em> and the \u003cem>Adventures of Huckleberry Finn\u003c/em> sold well, but they weren’t really taught in schools. That’s partly because they took an almost anti-educational stance. Huck, for the most part, doesn’t go to school, and Alice’s book smarts don’t get her very far in Wonderland.\u003c/p>\n\u003cp>There may be another reason, though, that authors like Twain and Carroll didn’t make it into classrooms. Seth Lerer argues that those books didn’t align with a major purpose of U.S. education in the late 19th and early 20th centuries: the assimilation of immigrants.\u003c/p>\n\u003cp>Lerer studies children’s literature at the University of California, San Diego. He points out a widely popular children’s book from that time that did make it into schools: Hendrik van Loon’s\u003cem> \u003c/em>\u003ca href=\"http://www.gutenberg.org/files/754/754-h/754-h.htm#link2H_4_0003\">The Story of Mankind\u003c/a>, an illustrated walk through the history of Western civilization. Its central themes are individualism and democratic participation — ideals that schools at that time were seeking to instill.\u003c/p>\n\u003cp>“The classroom,” Lerer says, “is the educational Ellis Island for early 20th century America.”\u003c/p>\n\u003cp>\u003cstrong>Chapter 3: The Russians are coming.\u003c/strong>\u003c/p>\n\u003cp>In the mid-20th century, the U.S. competition with the Soviet Union drove a re-evaluation of children’s books in the classroom, according to Philip Nel, who studies children’s literature at Kansas State University. Suddenly, the whole country was afraid that the U.S. was falling behind, and that education was to blame.\u003c/p>\n\u003cp>Rudolf Flesch’s best-seller, \u003cem>Why Johnny Can’t Read, and What You Can Do About It,\u003c/em> and a piece in \u003cem>Life\u003c/em> magazine titled \u003cem>Why Do Students Bog Down on First R? \u003c/em>led the charge.\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003ca href=\"https://books.google.com/books?id=JFMEAAAAMBAJ&pg=PA136&lpg=PA136&dq=why+do+students+bog+down+on+first+r&source=bl&ots=GHqaEJys9_&sig=4bfHzxyN8uiDqShLgE6BDCvRN6g&hl=en&sa=X&sqi=2&ved=0ahUKEwjLyvqA1sPMAhXEFT4KHaboCn4Q6AEIHDAA#v=onepage&q=why%20do%20students%20bog%20down%20on%20first%20r&f=false\">The Life article\u003c/a>, by the journalist and author John Hersey, suggested that boring \u003cem>Dick and Jane \u003c/em>readers were to blame for Americans’ subpar literacy.\u003c/p>\n\u003cp>“Many children understandably prefer lurid comic books and television shows to insipid, goody-goody school readers,” he wrote. “In bookstores, anyone can buy brighter, livelier books featuring strange and wonderful animals and children who behave naturally, i.e. sometimes misbehave.”\u003c/p>\n\u003cp>So began the effort to make early readers that children might actually enjoy.\u003c/p>\n\u003cp>The result?\u003c/p>\n\u003cfigure id=\"attachment_11568078\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/manpowerandmachinepower_custom-1801588f2d3e7f0105e9712c8815b14fa0caceda.jpg\" alt=\"An illustration of the shift from manpower to machine power in 'The Story of Mankind.'\" width=\"200\" height=\"205\" class=\"size-full wp-image-11568078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/manpowerandmachinepower_custom-1801588f2d3e7f0105e9712c8815b14fa0caceda.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/manpowerandmachinepower_custom-1801588f2d3e7f0105e9712c8815b14fa0caceda-32x32.jpg 32w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of the shift from manpower to machine power in ‘The Story of Mankind.’ \u003ccite>(Photo: Hendrik Willem van Loon /Ohio State University Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Cat in the Hat. Green Eggs and Ham. Are You My Mother? The Berenstain Bears. Go, Dog. Go!\u003c/em>\u003c/p>\n\u003cp>Seuss and Sendak were unleashed in schools, and the shift away from morally improving, no-frills lessons that began with \u003cem>Alice \u003c/em>a century earlier was complete.\u003c/p>\n\u003cp>\u003cstrong>Chapter 4: To \u003cem>The Hunger Games \u003c/em>and beyond.\u003c/strong>\u003c/p>\n\u003cp>William Gleason, the Princeton professor, sees another shift taking place, slowly. A shift toward books that confront the complexity — and deep emotional challenges — that children and adolescents face. There’s also been a growing move toward \u003ca href=\"http://www.npr.org/sections/ed/2016/02/26/467969663/wheres-the-color-in-kids-lit-ask-the-girl-with-1-000-books-and-counting\">books that reflect the diversity\u003c/a> of the current student population.\u003c/p>\n\u003cp>Books like Judy Blume’s \u003cem>Are You There God? It’s Me, Margaret, \u003c/em>which deals very frankly with puberty, are a part of this shift. And young-adult dystopian books like the \u003cem>Hunger Games \u003c/em>series, with its dark themes of violence and frustration, continue it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re taking childhood anger and fear and anxiety seriously and turning it into powerful representation,” Gleason says. “That is something different.” \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=Through+The+Looking+Glass%3A+How+Children%27s+Books+Have+Grown+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"headline": "Through the Looking Glass: How Children's Books Have Grown Up",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Sarah Parrish’s second-grade classroom, the colors are loud, but the kids are quiet.\u003c/p>\n\u003cp>It’s Thursday morning. Her students sit at their desks, reading to themselves. Books about Ramona and Junie B. Jones. Mystery books, fantasy books …\u003c/p>\n\u003cp>Marisa Sotelino has just finished \u003cem>Horse Diaries #3: Koda\u003c/em>. She grins when asked about it, showing a mouthful of light green braces.\u003c/p>\n\u003cp>“It’s interesting to see other people, or animals’ point of view,” she explains, “because, well, you can’t \u003cem>be\u003c/em> a different person.”\u003c/p>\n\u003cp>Nearby, a boy named Alec Mahini talks about his love for fantasy books: “It makes me feel that I’m in the adventure kind of, like the narrator.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their teacher thinks all these genres — fantasy, mystery, biography — are worth reading. “Any book that can hook their interest is wonderful,” Parrish explains. “Because we want to encourage that reading. The fun and excitement of it — that kind of spark is really important.”\u003c/p>\n\u003cp>It might seem totally obvious: Children should read fun, fantastical books in the classroom and outside of it, so they can learn to love to read. But it turns out that this particular view of children’s books is relatively new.\u003c/p>\n\u003cp>American classrooms have had some form of children’s books since the 17th century, but the books teachers have used, and the way they use them, have changed dramatically. For our \u003ca href=\"http://www.npr.org/series/359620445/tools-of-the-trade\" target=\"_blank\" rel=\"noopener\">Tools of the Trade \u003c/a>series, we decided to go back to the beginning.\u003c/p>\n\u003cp>\u003cstrong>Chapter 1: Once upon a time (in the late 1600s), in a land far, far away (England), there lived a British philosopher named John Locke.\u003c/strong>\u003c/p>\n\u003cp>He’s mostly remembered for his works of political theory. But for our purposes, let’s focus on a \u003ca href=\"http://www.bartleby.com/37/1/\" target=\"_blank\" rel=\"noopener\">short book he wrote in 1693\u003c/a>, called \u003cem>Some Thoughts Concerning Education. \u003c/em>\u003c/p>\n\u003cp>Locke wanted to change education — and one of his big ideas was to make reading fun. The alphabet, he wrote, should be taught with dice games, and readers should start with “easy, pleasant” books, even books with pictures.\u003c/p>\n\u003cp> These are not unusual ideas today, but they were relatively new in their time. The first widely printed picture book for kids — the \u003ca href=\"http://www.gutenberg.org/files/28299/28299-h/28299-h.htm\" target=\"_blank\" rel=\"noopener\">Orbis Pictus\u003c/a> \u003cem>—\u003c/em> had been published only a few decades before, in 1658.\u003c/p>\n\u003cp>As Locke put it, ” … ’tis usually long before Learners find any Use or Pleasure in reading which may tempt them to it.”\u003c/p>\n\u003cp>The popular school books in Locke’s time, like the American \u003ca href=\"http://www.sacred-texts.com/chr/nep/1777/\" target=\"_blank\" rel=\"noopener\">New England Primer\u003c/a>\u003cem>, \u003c/em>were not about storytelling. The \u003cem>Primer \u003c/em>did have some pictures, but it was mostly tables of letters and syllables, used to help people learn to read the Bible.\u003c/p>\n\u003cp>As Locke’s theories took hold, both in England and in the United States, they shaped many of the children’s books that were published in the 1700s.\u003c/p>\n\u003cp>Take \u003cem>The History of Little Goody Two Shoes\u003c/em>, from 1765. It sticks closely to Locke’s educational model of making learning a game. Little \u003ca href=\"http://www.bl.uk/collection-items/the-history-of-little-goody-two-shoes\" target=\"_blank\" rel=\"noopener\">Margery Meanwell\u003c/a>, also known as Goody Two Shoes, grows up poor, but betters herself through charity and education. For most of the book, she goes around teaching spelling through games, as she does in this passage:\u003c/p>\n\u003cfigure id=\"attachment_11568076\" class=\"wp-caption alignright\" style=\"max-width: 356px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ba0011_enlarge_custom-c74dc7738977aac77c59b043de6e5e000709ddc7.jpg\" alt=\"An edition of the <em>The New England Primer</em>, from 1803.\" width=\"356\" height=\"441\" class=\"size-full wp-image-11568076\">\u003cfigcaption class=\"wp-caption-text\">An edition of the \u003cem>The New England Primer\u003c/em>, from 1803. \u003ccite>(Photo: Rare Book and Special Collections Division/Library Of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“The usual manner of spelling, or carrying on the game, as they called it, was this; supposed the word to be spelt was plumb pudding (and who can suppose better) the children were placed in a circle, and the first brought the letter p, the next l, the next u, the next m, the next b, and so on, until the whole was spelt; and if any one brought a wrong letter, he was to pay a fine, or play no more.”\u003c/p>\n\u003c/blockquote>\n\u003cp>But even though \u003cem>Goody Two Shoes\u003c/em> had a plot, it was not the kind of fantastical adventure we’re familiar with today.\u003c/p>\n\u003cp>“Locke was very suspicious of anything that might be thought to escape the real,” explains William Gleason, a professor of English at Princeton University who researches children’s literature.\u003c/p>\n\u003cp>“It doesn’t mean that there wasn’t any fantasy,” Gleason adds, “but the dominant strain — and particularly the strain that was educationally approved — was highly rationalized.”\u003c/p>\n\u003cp>\u003cstrong>Chapter 2: Then, we fell down the rabbit hole.\u003c/strong>\u003c/p>\n\u003cp>Lewis Carroll published \u003cem>Alice’s Adventures in Wonderland \u003c/em>in 1865.\u003c/p>\n\u003cp>“It offers such an amazing imagined world of curiosity that it really kind of changes the game,” says Gleason. \u003ca href=\"https://www.gutenberg.org/files/11/11-h/11-h.htm\" target=\"_blank\" rel=\"noopener\">Alice\u003c/a> kicked off a whole series of books that focused on imagination — \u003cem>Peter Pan, Tom Sawyer, The Little Princess, The Secret Garden — \u003c/em>books now considered staples of the “golden age” of children’s literature.\u003c/p>\n\u003cp>Gleason says these books were part of a shifting sense of what childhood really meant. In the late 1800s, a child, or, at least, a middle-class Anglo-American child, was becoming less of an economic unit and more of an emotional one. Childhood was seen as a space of protected innocence.\u003c/p>\n\u003cp>\u003cem>So Alice \u003c/em>embraced childhood curiosity and wonder, reinventing children’s books. She did not, however, reinvent the American classroom.\u003c/p>\n\u003cfigure id=\"attachment_11568077\" class=\"wp-caption alignright\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alice_par_john_tenniel_30-10748a63687640c52692ac4835378dd0ecac2ea4.png\" alt=\"Alice attempting to play croquet using a flamingo in 'Alice's Adventures in Wonderland.'\" width=\"472\" height=\"354\" class=\"size-full wp-image-11568077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alice_par_john_tenniel_30-10748a63687640c52692ac4835378dd0ecac2ea4.png 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alice_par_john_tenniel_30-10748a63687640c52692ac4835378dd0ecac2ea4-400x300.png 400w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">Alice attempting to play croquet using a flamingo in ‘Alice’s Adventures in Wonderland.’ \u003ccite>(Photo: John Tenniel - Alice's Adventures in Wonderland/Wikipedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Books like \u003cem>Alice’s Adventures in Wonderland\u003c/em> and the \u003cem>Adventures of Huckleberry Finn\u003c/em> sold well, but they weren’t really taught in schools. That’s partly because they took an almost anti-educational stance. Huck, for the most part, doesn’t go to school, and Alice’s book smarts don’t get her very far in Wonderland.\u003c/p>\n\u003cp>There may be another reason, though, that authors like Twain and Carroll didn’t make it into classrooms. Seth Lerer argues that those books didn’t align with a major purpose of U.S. education in the late 19th and early 20th centuries: the assimilation of immigrants.\u003c/p>\n\u003cp>Lerer studies children’s literature at the University of California, San Diego. He points out a widely popular children’s book from that time that did make it into schools: Hendrik van Loon’s\u003cem> \u003c/em>\u003ca href=\"http://www.gutenberg.org/files/754/754-h/754-h.htm#link2H_4_0003\">The Story of Mankind\u003c/a>, an illustrated walk through the history of Western civilization. Its central themes are individualism and democratic participation — ideals that schools at that time were seeking to instill.\u003c/p>\n\u003cp>“The classroom,” Lerer says, “is the educational Ellis Island for early 20th century America.”\u003c/p>\n\u003cp>\u003cstrong>Chapter 3: The Russians are coming.\u003c/strong>\u003c/p>\n\u003cp>In the mid-20th century, the U.S. competition with the Soviet Union drove a re-evaluation of children’s books in the classroom, according to Philip Nel, who studies children’s literature at Kansas State University. Suddenly, the whole country was afraid that the U.S. was falling behind, and that education was to blame.\u003c/p>\n\u003cp>Rudolf Flesch’s best-seller, \u003cem>Why Johnny Can’t Read, and What You Can Do About It,\u003c/em> and a piece in \u003cem>Life\u003c/em> magazine titled \u003cem>Why Do Students Bog Down on First R? \u003c/em>led the charge.\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003ca href=\"https://books.google.com/books?id=JFMEAAAAMBAJ&pg=PA136&lpg=PA136&dq=why+do+students+bog+down+on+first+r&source=bl&ots=GHqaEJys9_&sig=4bfHzxyN8uiDqShLgE6BDCvRN6g&hl=en&sa=X&sqi=2&ved=0ahUKEwjLyvqA1sPMAhXEFT4KHaboCn4Q6AEIHDAA#v=onepage&q=why%20do%20students%20bog%20down%20on%20first%20r&f=false\">The Life article\u003c/a>, by the journalist and author John Hersey, suggested that boring \u003cem>Dick and Jane \u003c/em>readers were to blame for Americans’ subpar literacy.\u003c/p>\n\u003cp>“Many children understandably prefer lurid comic books and television shows to insipid, goody-goody school readers,” he wrote. “In bookstores, anyone can buy brighter, livelier books featuring strange and wonderful animals and children who behave naturally, i.e. sometimes misbehave.”\u003c/p>\n\u003cp>So began the effort to make early readers that children might actually enjoy.\u003c/p>\n\u003cp>The result?\u003c/p>\n\u003cfigure id=\"attachment_11568078\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/manpowerandmachinepower_custom-1801588f2d3e7f0105e9712c8815b14fa0caceda.jpg\" alt=\"An illustration of the shift from manpower to machine power in 'The Story of Mankind.'\" width=\"200\" height=\"205\" class=\"size-full wp-image-11568078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/manpowerandmachinepower_custom-1801588f2d3e7f0105e9712c8815b14fa0caceda.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/manpowerandmachinepower_custom-1801588f2d3e7f0105e9712c8815b14fa0caceda-32x32.jpg 32w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of the shift from manpower to machine power in ‘The Story of Mankind.’ \u003ccite>(Photo: Hendrik Willem van Loon /Ohio State University Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Cat in the Hat. Green Eggs and Ham. Are You My Mother? The Berenstain Bears. Go, Dog. Go!\u003c/em>\u003c/p>\n\u003cp>Seuss and Sendak were unleashed in schools, and the shift away from morally improving, no-frills lessons that began with \u003cem>Alice \u003c/em>a century earlier was complete.\u003c/p>\n\u003cp>\u003cstrong>Chapter 4: To \u003cem>The Hunger Games \u003c/em>and beyond.\u003c/strong>\u003c/p>\n\u003cp>William Gleason, the Princeton professor, sees another shift taking place, slowly. A shift toward books that confront the complexity — and deep emotional challenges — that children and adolescents face. There’s also been a growing move toward \u003ca href=\"http://www.npr.org/sections/ed/2016/02/26/467969663/wheres-the-color-in-kids-lit-ask-the-girl-with-1-000-books-and-counting\">books that reflect the diversity\u003c/a> of the current student population.\u003c/p>\n\u003cp>Books like Judy Blume’s \u003cem>Are You There God? It’s Me, Margaret, \u003c/em>which deals very frankly with puberty, are a part of this shift. And young-adult dystopian books like the \u003cem>Hunger Games \u003c/em>series, with its dark themes of violence and frustration, continue it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re taking childhood anger and fear and anxiety seriously and turning it into powerful representation,” Gleason says. “That is something different.” \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=Through+The+Looking+Glass%3A+How+Children%27s+Books+Have+Grown+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\n\u003cp>https://twitter.com/trailingjohnson/status/709285689095917568\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \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=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Does Star Trek — and Klingon — belong to the fans or to the studios? The answer has big implications for more people than just Trekkies.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \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=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For decades, few films made in Cuba have found their way to U.S. theaters. But with diplomatic relations restored between the two countries, this past weekend brought not one, but two. \u003cem>Papa: Hemingway in Cuba\u003c/em>, the first Hollywood film to shoot on the island nation in decades, turns out to be a dispiriting, ineptly directed affair, about which the less said, the better.\u003c/p>\n\u003cp>But a father-son drama called \u003cem>Viva\u003c/em> is lively enough to be an art-house hit, illuminating a Havana subculture that may be almost as unfamiliar to Cubans as to Americans.\u003c/p>\n\u003cp>It centers on Jesus (Héctor Medina) a delicately handsome young man who makes his living — a very small living — as a hairdresser for the performers at a transgender club. The day we meet him, a cat-fight among the drag performers, leads to a departure, a theft of wigs, and an opportunity for Jesus, who’s been hankering for a spot in the spotlight.\u003c/p>\n\u003cp>The club’s proprietor, a burly drag queen known as Mama (Luis Alberto Garcia) wonders why, and Jesus responds that he needs the money, but also that he’s at loose ends — mother dead, dad in jail — and that he wants something for himself.\u003c/p>\n\u003cp>So Mama lets him try out — his stage name, Viva — lip-syncing to a torch song he likes, in a dress he made himself. He’s a little tentative, but not terrible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Practice, practice, practice,” says Mama afterwards. “This isn’t a charity. Show us something ‘real’ or we’ll get someone else.”\u003c/p>\n\u003cp>Next time Jesus goes out on stage he’s in a white dress, pearls and a scarlet boa, and there’s no question the audience finds him “real.” He’s a knockout. And he gets knocked out, by a drunk at the bar — a drunk he is horrified to learn, is his father, just released from jail and coming back to live with him in the family apartment they both have claims on.\u003c/p>\n\u003cp>Complications ensue, including a power struggle in the household that gains a bit of complexity from a cleverly ‘meta’ bit of casting. Irish filmmaker Paddy Breathnach has placed newcomer Medina, opposite one of Cuba’s most celebrated actors, Jorge Perugorría, as his homophobic father, which qualifies as an intriguing bit of role-reversal. Perugorría became celebrated two decades ago by making his own debut as the gay lead in \u003cem>Fresa y chocolate\u003c/em> (\u003cem>Strawberry & Chocolate\u003c/em>), the Oscar-nominated film that is probably Cuba’s best-known.\u003c/p>\n\u003cp>The two actors are well-paired here, in a story that’s perhaps over-familiar — striking mostly conventional notes about identity and family — but that benefits enormously from its setting: the cobbled streets of Old Havana, where the colorful hues of antique cars and crumbling storefronts, brighten the grittier world they inhabit, much as Jesus wants to brighten the world around him, as Viva.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/S097UTL057I\u003c/p>\n\n",
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"title": "Finally, Some Justice For Busybody Moms In 'The Meddler'",
"headTitle": "Finally, Some Justice For Busybody Moms In ‘The Meddler’ | KQED",
"content": "\u003cp>In Lorene Scafaria’s \u003cem>The Meddler\u003c/em>, Susan Sarandon plays Marnie Minervini, a recent widow who moves from the East Coast to Los Angeles to “be near” (read, boss around) her daughter Lori (a very good, if underused Rose Byrne), a depressed screenwriter who’s just broken up with her boyfriend. We meet Marnie lying in bed gazing up at the ceiling, and that’s more or less the last wordless time we spend with her.\u003c/p>\n\u003cfigure id=\"attachment_11527718\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amiable and chatty (her voiceover, a one-way running memo to Lori, typically begins with “Anyway…”), Marnie has little to do in her new home, and Lori is less than receptive to input. When her daughter escapes to New York for a few weeks’ work, Marnie busies herself finding substitutes to whom she can offer unsolicited aid and advice. She gloms onto Lori’s friends bearing disproportionate gifts; packs her bemused Apple guy (Jerrod Carmichael) off to college; plans a lesbian wedding for a motherless bride (Cecily Strong); visits a hospitalized older woman she doesn’t know. She also throws money around for all the world as if she were not a modestly comfortable widow from suburban New Jersey. Marnie doesn’t want to know how lonely she is. So she follows Lori to New York, there to place her stamp on a TV-movie set where a tale suspiciously like her own family’s progresses as best it can under her superfluous wing.\u003c/p>\n\u003cfigure id=\"attachment_11527716\" class=\"wp-caption aligncenter\" style=\"max-width: 1162px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1162\" height=\"856\" class=\"size-full wp-image-11527716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1162w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x707.jpg 960w\" sizes=\"(max-width: 1162px) 100vw, 1162px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie mothers get a raw deal: They’re too cold or too hot, too remote or too engaged, too young or too old, monsters or, at best, figures of fun. The busybody mom in particular has, with wearying frequency, become a sitting target for cheap cracks at the expense of the lonely empty-nester. Perhaps because \u003cem>The Meddler\u003c/em> was made by a woman director and based on a testing encounter with a mother she clearly loves, Scafaria’s comedy of maternal manners dances affectionately, if not altogether nimbly, around this cliff edge without falling over.\u003c/p>\n\u003cp>\u003cem>The Meddler\u003c/em> isn’t great filmmaking. It’s baggy and repetitive, and sometimes it just drifts along on a repeat cycle of Marnie’s desperate efforts to minister to everyone but herself. The dialogue is relentlessly chipper, and the supporting players — arm-waving Italian in-laws, a pregnant girlfriend in ditsy top gear (though I do love Lucy Punch), an obligatory love interest played with more diligence than energy by J.K. Simmons in an improbable handlebar mustache — often feel like situation comedy types. The takeaway won’t shock you either: Marnie and Lori will wake up to the source of their shared grief and their mutual need and all the redemptive stuff that comes with this territory.\u003c/p>\n\u003cfigure id=\"attachment_11527717\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, \u003cem>The Meddler\u003c/em> is warm and funny and astutely observant of the way so many mothers and daughters push and pull at each other and drive each other crazy, and never let go. And though Sarandon, a sixtysomething glamour puss at once raffish and maternal in a wavy red shag and Bette Davis eyes, might easily have sucked up all the air in the room, she goes a different route. She dials down the slapstick around her and brings a quiet grace to a woman who’s all at sea but hangs onto what she does best — figuring out what other people need and helping them get there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The great thing about \u003cem>The Meddler\u003c/em> is that it doesn’t force Marnie to change all that much. She comes to see that she needs to take care of herself as well as others. Likewise, Lori comes to accept the gift that’s been in front of her nose all along, and to accept that what’s most annoying (to her, if not to her friends) about her mother is also what’s finest about her. The world could use a few more meddlers like Marnie, one of a vast army of maternal do-gooders who go unsung or reviled at the movies and in life. \u003cem>The Meddler\u003c/em>, for once, doffs its cap to busybody moms. Because they are the best kind, and as my own beloved, clucking mother used to say, better too much than too little. So off you go and wear a woolly, it’s cold outside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y2KtQz2bhLg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Lorene Scafaria’s \u003cem>The Meddler\u003c/em>, Susan Sarandon plays Marnie Minervini, a recent widow who moves from the East Coast to Los Angeles to “be near” (read, boss around) her daughter Lori (a very good, if underused Rose Byrne), a depressed screenwriter who’s just broken up with her boyfriend. We meet Marnie lying in bed gazing up at the ceiling, and that’s more or less the last wordless time we spend with her.\u003c/p>\n\u003cfigure id=\"attachment_11527718\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amiable and chatty (her voiceover, a one-way running memo to Lori, typically begins with “Anyway…”), Marnie has little to do in her new home, and Lori is less than receptive to input. When her daughter escapes to New York for a few weeks’ work, Marnie busies herself finding substitutes to whom she can offer unsolicited aid and advice. She gloms onto Lori’s friends bearing disproportionate gifts; packs her bemused Apple guy (Jerrod Carmichael) off to college; plans a lesbian wedding for a motherless bride (Cecily Strong); visits a hospitalized older woman she doesn’t know. She also throws money around for all the world as if she were not a modestly comfortable widow from suburban New Jersey. Marnie doesn’t want to know how lonely she is. So she follows Lori to New York, there to place her stamp on a TV-movie set where a tale suspiciously like her own family’s progresses as best it can under her superfluous wing.\u003c/p>\n\u003cfigure id=\"attachment_11527716\" class=\"wp-caption aligncenter\" style=\"max-width: 1162px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1162\" height=\"856\" class=\"size-full wp-image-11527716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1162w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x707.jpg 960w\" sizes=\"(max-width: 1162px) 100vw, 1162px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie mothers get a raw deal: They’re too cold or too hot, too remote or too engaged, too young or too old, monsters or, at best, figures of fun. The busybody mom in particular has, with wearying frequency, become a sitting target for cheap cracks at the expense of the lonely empty-nester. Perhaps because \u003cem>The Meddler\u003c/em> was made by a woman director and based on a testing encounter with a mother she clearly loves, Scafaria’s comedy of maternal manners dances affectionately, if not altogether nimbly, around this cliff edge without falling over.\u003c/p>\n\u003cp>\u003cem>The Meddler\u003c/em> isn’t great filmmaking. It’s baggy and repetitive, and sometimes it just drifts along on a repeat cycle of Marnie’s desperate efforts to minister to everyone but herself. The dialogue is relentlessly chipper, and the supporting players — arm-waving Italian in-laws, a pregnant girlfriend in ditsy top gear (though I do love Lucy Punch), an obligatory love interest played with more diligence than energy by J.K. Simmons in an improbable handlebar mustache — often feel like situation comedy types. The takeaway won’t shock you either: Marnie and Lori will wake up to the source of their shared grief and their mutual need and all the redemptive stuff that comes with this territory.\u003c/p>\n\u003cfigure id=\"attachment_11527717\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, \u003cem>The Meddler\u003c/em> is warm and funny and astutely observant of the way so many mothers and daughters push and pull at each other and drive each other crazy, and never let go. And though Sarandon, a sixtysomething glamour puss at once raffish and maternal in a wavy red shag and Bette Davis eyes, might easily have sucked up all the air in the room, she goes a different route. She dials down the slapstick around her and brings a quiet grace to a woman who’s all at sea but hangs onto what she does best — figuring out what other people need and helping them get there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A gay rights activist and his friend were killed Monday night in Bangladesh’s capital, Dhaka, by a group of assailants reportedly armed with machetes and guns.\u003c/p>\n\u003cp>Their deaths are the latest in “a series of attacks on progressive voices that has deepened anxiety about growing fundamentalism in the tiny Muslim country, which borders India,” NPR’s Julie McCarthy tells our Newscast unit.\u003c/p>\n\u003cp>Xulhaz Mannan and a man said to be a close friend were slain by a half-dozen men posing as couriers when they forced their way inside Mannan’s apartment, Julie reports.\u003c/p>\n\u003cp>Mannan worked for the U.S. Agency for International Development and was the editor of \u003ca href=\"https://twitter.com/roopbaan\">Roopbaan\u003c/a>, the country’s only LGBT magazine, and had helped organize a rally for LGBT youths called The Rainbow Rally on April 14, the Bengali New Year. Another friend of Mannan’s, Sara Hossain, told \u003cem>The New York Times\u003c/em> that the activist had received death threats from people who opposed the rally.\u003c/p>\n\u003cp>An al-Qaida-linked group said it was responsible for the two killings. The Associated Press reports that “the claim by Ansar-al-islam — which said it targeted the two men on Monday night because they were ‘pioneers of practicing and promoting homosexuality’ — raised doubts about Prime Minister Sheikh Hasina’s repeated assurances that authorities have the security situation under control.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>USAID \u003ca href=\"https://www.usaid.gov/news-information/press-releases/apr-25-2016-statement-administrator-gayle-smith-death-fsn-xulhaz-mannan\">published a statement\u003c/a> following Mannan’s death, calling him “a dedicated and courageous advocate for human rights.”\u003c/p>\n\u003cp>“Xulhaz sought to shape a society that was more diverse and inclusive. He believed in the people of Bangladesh, and he strove to make the world a better place for everyone.”\u003c/p>\n\u003cp>\u003cem>The Wall Street Journal\u003c/em> \u003ca href=\"Abdur%20Rahim,%20the%20caretaker%20of%20the%20six-story%20building%20in%20which%20Mr.%20Mannan%20lived,%20said%20two%20young%20men%20posing%20as%20couriers%20entered%20Mr.%20Mannan's%20first-floor%20apartment%20on%20Monday%20evening.%20Four%20other%20men%20then%20followed%20them%20into%20the%20apartment.\">spoke with an employee\u003c/a> at Mannan’s apartment building about what happened there:\u003c/p>\n\u003cblockquote>\n\u003cp>“Abdur Rahim, the caretaker of the six-story building in which Mr. Mannan lived, said two young men posing as couriers entered Mr. Mannan’s first-floor apartment on Monday evening. Four other men then followed them into the apartment.\u003c/p>\n\u003cp>” ‘We heard shouts and then loud bangs,’ Mr. Rahim said.\u003c/p>\n\u003cp>“Mr. Rahim said building guards and a police patrol tried to stop the group as they tried to escape after the killing. The killers escaped by firing shots that injured a policeman and a building guard, Mr. Rahim said.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Mannan and his friend were cut down just days after English professor Rezaul Karim Siddique was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/23/475406593/bangladeshi-professor-hacked-to-death-in-islamic-state-claimed-attack\">hacked to death\u003c/a> as he walked to his home in the city of Rajshahi, Bangladesh. Julie reported over the weekend that Siddique may have attracted attention with his focus on cultural enrichment after he organized a music school.\u003c/p>\n\u003cp>She notes that the latest attacks might signal a shift: “It appears that the assailants may be expanding their range of targets. Previously, the grisly attacks have focused on atheists and bloggers critical of Islamic fundamentalism.”\u003c/p>\n\u003cp>Earlier this month, an atheist law student named Nazimuddin Samad \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/07/473347159/atheist-law-student-hacked-to-death-in-bangladesh\">was hacked and shot to death\u003c/a> by men on a busy street in Dhaka. Samad reportedly had been named on a “hit list” of bloggers sent to the Bangladesh Interior Ministry by a group of radical Islamists in 2013.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the Two-Way has reported, “last year, at least four secular bloggers were hacked to death in Bangladesh and a publisher who worked with one of those bloggers was stabbed to death.” \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=Editor+Of+Bangladesh%27s+Only+LGBT+Magazine+Is+Hacked+To+Death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A gay rights activist and his friend were killed Monday night in Bangladesh’s capital, Dhaka, by a group of assailants reportedly armed with machetes and guns.\u003c/p>\n\u003cp>Their deaths are the latest in “a series of attacks on progressive voices that has deepened anxiety about growing fundamentalism in the tiny Muslim country, which borders India,” NPR’s Julie McCarthy tells our Newscast unit.\u003c/p>\n\u003cp>Xulhaz Mannan and a man said to be a close friend were slain by a half-dozen men posing as couriers when they forced their way inside Mannan’s apartment, Julie reports.\u003c/p>\n\u003cp>Mannan worked for the U.S. Agency for International Development and was the editor of \u003ca href=\"https://twitter.com/roopbaan\">Roopbaan\u003c/a>, the country’s only LGBT magazine, and had helped organize a rally for LGBT youths called The Rainbow Rally on April 14, the Bengali New Year. Another friend of Mannan’s, Sara Hossain, told \u003cem>The New York Times\u003c/em> that the activist had received death threats from people who opposed the rally.\u003c/p>\n\u003cp>An al-Qaida-linked group said it was responsible for the two killings. The Associated Press reports that “the claim by Ansar-al-islam — which said it targeted the two men on Monday night because they were ‘pioneers of practicing and promoting homosexuality’ — raised doubts about Prime Minister Sheikh Hasina’s repeated assurances that authorities have the security situation under control.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>USAID \u003ca href=\"https://www.usaid.gov/news-information/press-releases/apr-25-2016-statement-administrator-gayle-smith-death-fsn-xulhaz-mannan\">published a statement\u003c/a> following Mannan’s death, calling him “a dedicated and courageous advocate for human rights.”\u003c/p>\n\u003cp>“Xulhaz sought to shape a society that was more diverse and inclusive. He believed in the people of Bangladesh, and he strove to make the world a better place for everyone.”\u003c/p>\n\u003cp>\u003cem>The Wall Street Journal\u003c/em> \u003ca href=\"Abdur%20Rahim,%20the%20caretaker%20of%20the%20six-story%20building%20in%20which%20Mr.%20Mannan%20lived,%20said%20two%20young%20men%20posing%20as%20couriers%20entered%20Mr.%20Mannan's%20first-floor%20apartment%20on%20Monday%20evening.%20Four%20other%20men%20then%20followed%20them%20into%20the%20apartment.\">spoke with an employee\u003c/a> at Mannan’s apartment building about what happened there:\u003c/p>\n\u003cblockquote>\n\u003cp>“Abdur Rahim, the caretaker of the six-story building in which Mr. Mannan lived, said two young men posing as couriers entered Mr. Mannan’s first-floor apartment on Monday evening. Four other men then followed them into the apartment.\u003c/p>\n\u003cp>” ‘We heard shouts and then loud bangs,’ Mr. Rahim said.\u003c/p>\n\u003cp>“Mr. Rahim said building guards and a police patrol tried to stop the group as they tried to escape after the killing. The killers escaped by firing shots that injured a policeman and a building guard, Mr. Rahim said.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Mannan and his friend were cut down just days after English professor Rezaul Karim Siddique was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/23/475406593/bangladeshi-professor-hacked-to-death-in-islamic-state-claimed-attack\">hacked to death\u003c/a> as he walked to his home in the city of Rajshahi, Bangladesh. Julie reported over the weekend that Siddique may have attracted attention with his focus on cultural enrichment after he organized a music school.\u003c/p>\n\u003cp>She notes that the latest attacks might signal a shift: “It appears that the assailants may be expanding their range of targets. Previously, the grisly attacks have focused on atheists and bloggers critical of Islamic fundamentalism.”\u003c/p>\n\u003cp>Earlier this month, an atheist law student named Nazimuddin Samad \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/07/473347159/atheist-law-student-hacked-to-death-in-bangladesh\">was hacked and shot to death\u003c/a> by men on a busy street in Dhaka. Samad reportedly had been named on a “hit list” of bloggers sent to the Bangladesh Interior Ministry by a group of radical Islamists in 2013.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the Two-Way has reported, “last year, at least four secular bloggers were hacked to death in Bangladesh and a publisher who worked with one of those bloggers was stabbed to death.” \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=Editor+Of+Bangladesh%27s+Only+LGBT+Magazine+Is+Hacked+To+Death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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