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"title": "A Heavy Dose of Glitter, Pyrotechnics and Politics at Eurovision 2016",
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"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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"excerpt": "Ukraine's Jamala is this year's winner with a haunting song about the mass deportation of Crimean Tatars during World War II. Politics are never far from the surface at the European song contest.",
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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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"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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"title": "Is Klingon a Living Language? That's for (Human) Courts to Decide",
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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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"content": "\u003cp>Here’s a recipe for the ideal man: Take the speed and ruthlessness of a brain-damaged sociopath and combine them with the smarts and tenderness of a CIA agent who’s also a husband and father. Yet for some reason, the new movie about this champion is titled not \u003cem>The Perfect Guy\u003c/em>, but \u003cem>Criminal\u003c/em>.\u003c/p>\n\u003cp>That apparently refers to Jerico (Kevin Costner), who lacks all decency and empathy because he was abused as a child by his father. (So he’s a monster, but a victim, too.) Since he has “frontal lobe syndrome,” he’s the ideal temporary recipient of the consciousness of nice-guy spy Bill (Ryan Reynolds), who was just tortured to death by a Spanish anarchist with a Nordic name, Heimdahl (Jordi Molla).\u003c/p>\n\u003cp>https://youtu.be/3bvnoqsvY-M\u003c/p>\n\u003cp>There’s something about Reynolds’ male-model looks, it seems, that makes filmmakers want to disfigure him. \u003cem>Criminal\u003c/em> is no \u003cem>Deadpool\u003c/em>, though. It packs only a handful of ironic asides, and they’re all allocated to Costner. (While we’re on the subject of Reynolds’ odd career, by the way, let’s note that it’s been less than a year since the actor was seen in \u003cem>Self/less\u003c/em>, playing a body implanted with another man’s mind.)\u003c/p>\n\u003cp>Bill dies in London, and has stashed a Dutch hacker (Michael Pitt) without telling anyone where the guy is. The computer whiz can control the U.S. military arsenal from his laptop, so he’s frantically sought by CIA London station chief Quaker Wells (Gary Oldman with some sort of American accent). Also striving to make “a deal better than Snowden got” with the Dutchman are Heimdahl and the Russians — and, most likely, Apple and Google.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wells calls a plodding American brain tinkerer, played by a lumbering Tommy Lee Jones and named Dr. Franks. (The family probably shortened its surname after relocating from the Old Country.) Franks springs Jerico from a cell that looks as if it had been designed for Hannibal Lecter and flies him to Britain. The brute receives some of Bill’s memories, which come mingled with feelings for the dead man’s wife, Jill (Gal Gadot), and young daughter, Emma (Lara DeCaro).\u003c/p>\n\u003cp>But Jerico is hard to control, and soon he’s busted loose to terrorize both trendy coffee bars and working-class dives. His funniest moments come when he finds himself saying things Bill would have, and doesn’t understand them.\u003c/p>\n\u003cp>Even the gags arrive in the company of bone-crushing violence, as Jerico finds himself at war with the CIA and the anarchists — led by Heimdahl’s sexy lover/enforcer (Antje Traue) — as well as all sorts of ancillary law-enforcement types, who exist just to be bashed, smashed, or blown up.\u003c/p>\n\u003cp>The only person who doesn’t seem out to kill Jerico is Emma, with whom the guy develops the inevitable special bond. Thank heaven for little girls.\u003c/p>\n\u003cp>\u003cem>Criminal\u003c/em> was written by Douglas Cook and David Weisberg, who scripted \u003cem>The Rock\u003c/em>, a nutty 1996 Nicolas Cage vehicle. The director is Ariel Vromen, whose \u003cem>The Iceman\u003c/em> was a competent from-real-life 2013 drama that also involved mayhem and family values. But with its European locations, electro-thump score, and near-ceaseless violence, the movie plays like something tooled in French producer-scripter Luc Besson’s factory for international action mashups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Besson probably would have imagined a more timely threat than Spanish anarchism. He likely wouldn’t have allowed Pitt to pronounce his Dutch character’s name, Strook, as if it were an American one. Most importantly, he would brought a lighter touch to this silly-in-concept but earnest-in-execution trifle. So when \u003cem>Criminal\u003c/em> hints at the possibility of a sequel, viewers might chuckle rather than cringe.\u003c/p>\n\n",
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"title": "Comic W. Kamau Bell on Standing Tall and Finding Humor in America's Racism",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474215754/474246945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Comic W. Kamau Bell finds humor in the parts of America that make him uncomfortable. Speaking to \u003cem>Fresh Air\u003c/em>‘s Terry Gross, Bell likens his new CNN series, \u003cem>United Shades of America, \u003c/em>to a travel show that takes him “to all sorts of different places that I [am] either afraid to go, or you wouldn’t expect me to go.”\u003c/p>\n\u003cp>“I’ve always been a fan of [\u003cem>Parts Unknown\u003c/em> host Anthony] Bourdain,” Bell says. “I always thought if I had a show like that, you would replace food with racism. Instead of sampling the food, I would sample the racism or the culture.”\u003c/p>\n\u003cp>On the first few episodes of\u003cem> United Shades of America,\u003c/em> Bell, who is black, attends a Ku Klux Klan gathering, spends time at Daytona Beach during spring break and visits a gated retirement community.\u003c/p>\n\u003cp>Bell says that it is a blend of curiosity and fear that drives him forward in his work. For the episode in which he met up with Klan members in the middle of the night, he says, “I was more curious than I was afraid — until I got there and then … the fear sort of crept in.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On finding humor in his meeting with the Ku Klux Klan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Klan is wrapped up in their mythology and I think they know they’re the boogeyman, and I think that they like that side of it. … There’s also a side of it where they’re also aware if they’re on a bright road wearing those outfits, they’re going to attract a lot of unwanted attention. They know those robes are as unpopular as I know those robes are unpopular. … All the Klan members I met who were dressed like that were on their own property or at night by the side of the road. Nobody was like, “Meet me at a coffee shop in downtown Arkansas and let’s get together at the Denny’s and talk about this.” Nobody wanted that.\u003c/p>\n\u003cp>\u003cstrong>On the demise of his former show, \u003cem>Totally Biased With W. Kamau Bell\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was stranded in New York in an apartment that was way too expensive for a guy who didn’t have a job. I had one daughter; she was 3 years old. … We [had] moved into an apartment that was the budget of a guy with a TV show and then I didn’t have a TV show … and [it] really felt like that was a referendum on me, because I put all of myself into that show.\u003c/p>\n\u003cp>But at the same time, [I] was happy that it was canceled. We all worked really hard on that show, and when we went to four days a week, we weren’t ready for that. Also, I had a lot of friends on that show, and by the end, relationships had changed. People who had been my friends were now not my friends because now I was their boss. … By the end, I compared it to every Vietnam War movie, where everyone goes in their separate directions. … There was a real sense of I’m sad this is over, and thank God it’s over.\u003c/p>\n\u003cp>\u003cstrong>On how he dealt with depression after the end of \u003cem>Totally Biased\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I can’t slip off the planet. I can’t just give into it, so I have to slowly put one foot in front of the other. But there was a real sense if I had been not married with a kid, I would have booked that Dave Chappelle ticket to South Africa. … I would have disappeared for a while. I don’t mean in any sort of dangerous way, but I would have been like, “I think I’m done with whatever this is.”\u003c/p>\n\u003cp>But I couldn’t do it. And I slowly realized that the canceling of the show was probably better for my career anyway, because the show was sort of going by in drips and drabs at that point. We weren’t getting good ratings, we weren’t getting a lot of attention, the wear and tear was seen on my face. My friends who watched the show could see that it was hard for me, and when the show got canceled, it became like Woodstock — more people claimed they were there than who were clearly there.\u003c/p>\n\u003cp>\u003cstrong>On having biracial daughters\u003c/strong>\u003c/p>\n\u003cp>It’s important to me that my daughter learn what I learned, that no matter how you feel you’re being treated by black people at any given time, those are your people. My wife knows that those are my daughter’s people. … We had a lot of conversations; she understood that she was having a black daughter. … It was her parents that had to realize this. …\u003c/p>\n\u003cp>My wife told me that at one point her mom came to her — I think while my wife was still pregnant — and said, “So wait, Sammy is going to be black.” And my wife was like, “Yes that’s true,” and her mom was like, “OK.”\u003c/p>\n\u003cp>In that tiny thing, was years of race discussions with my wife and her getting her family into the idea of, “My boyfriend is this black guy; my husband is this black guy.” There was a whole “Circle Of Life” that happened in that moment that I wasn’t there for, but I was like, “Yaaay.”\u003c/p>\n\u003cp>\u003cstrong>On the advantages of being tall \u003c/strong>\u003c/p>\n\u003cp>There is nothing bad about being tall. … When you’re tall you sort of get more points, like people think you’re better looking. Tall people get paid more money generally; presidents are taller than the average man.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I feel like it’s been great for me to be tall because it gives me something in the world that sometimes being black takes away from me … and when need be, I can use my height and my size to my advantage to get out of difficult situations. For example, with the Klan, those guys are all pretty short. So as much as they hate a black guy, the 6-foot-4-inch, 250-pound black guy is a different thing than maybe the black guy they imagined. So that’s a time to stand up taller, and to stand over people and go, “Yes, can you tell me about this cross?” … That’s a benefit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+W.+Kamau+Bell+On+Standing+Tall+And+Finding+Humor+In+America%27s+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474215754/474246945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Comic W. Kamau Bell finds humor in the parts of America that make him uncomfortable. Speaking to \u003cem>Fresh Air\u003c/em>‘s Terry Gross, Bell likens his new CNN series, \u003cem>United Shades of America, \u003c/em>to a travel show that takes him “to all sorts of different places that I [am] either afraid to go, or you wouldn’t expect me to go.”\u003c/p>\n\u003cp>“I’ve always been a fan of [\u003cem>Parts Unknown\u003c/em> host Anthony] Bourdain,” Bell says. “I always thought if I had a show like that, you would replace food with racism. Instead of sampling the food, I would sample the racism or the culture.”\u003c/p>\n\u003cp>On the first few episodes of\u003cem> United Shades of America,\u003c/em> Bell, who is black, attends a Ku Klux Klan gathering, spends time at Daytona Beach during spring break and visits a gated retirement community.\u003c/p>\n\u003cp>Bell says that it is a blend of curiosity and fear that drives him forward in his work. For the episode in which he met up with Klan members in the middle of the night, he says, “I was more curious than I was afraid — until I got there and then … the fear sort of crept in.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On finding humor in his meeting with the Ku Klux Klan\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Klan is wrapped up in their mythology and I think they know they’re the boogeyman, and I think that they like that side of it. … There’s also a side of it where they’re also aware if they’re on a bright road wearing those outfits, they’re going to attract a lot of unwanted attention. They know those robes are as unpopular as I know those robes are unpopular. … All the Klan members I met who were dressed like that were on their own property or at night by the side of the road. Nobody was like, “Meet me at a coffee shop in downtown Arkansas and let’s get together at the Denny’s and talk about this.” Nobody wanted that.\u003c/p>\n\u003cp>\u003cstrong>On the demise of his former show, \u003cem>Totally Biased With W. Kamau Bell\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was stranded in New York in an apartment that was way too expensive for a guy who didn’t have a job. I had one daughter; she was 3 years old. … We [had] moved into an apartment that was the budget of a guy with a TV show and then I didn’t have a TV show … and [it] really felt like that was a referendum on me, because I put all of myself into that show.\u003c/p>\n\u003cp>But at the same time, [I] was happy that it was canceled. We all worked really hard on that show, and when we went to four days a week, we weren’t ready for that. Also, I had a lot of friends on that show, and by the end, relationships had changed. People who had been my friends were now not my friends because now I was their boss. … By the end, I compared it to every Vietnam War movie, where everyone goes in their separate directions. … There was a real sense of I’m sad this is over, and thank God it’s over.\u003c/p>\n\u003cp>\u003cstrong>On how he dealt with depression after the end of \u003cem>Totally Biased\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I can’t slip off the planet. I can’t just give into it, so I have to slowly put one foot in front of the other. But there was a real sense if I had been not married with a kid, I would have booked that Dave Chappelle ticket to South Africa. … I would have disappeared for a while. I don’t mean in any sort of dangerous way, but I would have been like, “I think I’m done with whatever this is.”\u003c/p>\n\u003cp>But I couldn’t do it. And I slowly realized that the canceling of the show was probably better for my career anyway, because the show was sort of going by in drips and drabs at that point. We weren’t getting good ratings, we weren’t getting a lot of attention, the wear and tear was seen on my face. My friends who watched the show could see that it was hard for me, and when the show got canceled, it became like Woodstock — more people claimed they were there than who were clearly there.\u003c/p>\n\u003cp>\u003cstrong>On having biracial daughters\u003c/strong>\u003c/p>\n\u003cp>It’s important to me that my daughter learn what I learned, that no matter how you feel you’re being treated by black people at any given time, those are your people. My wife knows that those are my daughter’s people. … We had a lot of conversations; she understood that she was having a black daughter. … It was her parents that had to realize this. …\u003c/p>\n\u003cp>My wife told me that at one point her mom came to her — I think while my wife was still pregnant — and said, “So wait, Sammy is going to be black.” And my wife was like, “Yes that’s true,” and her mom was like, “OK.”\u003c/p>\n\u003cp>In that tiny thing, was years of race discussions with my wife and her getting her family into the idea of, “My boyfriend is this black guy; my husband is this black guy.” There was a whole “Circle Of Life” that happened in that moment that I wasn’t there for, but I was like, “Yaaay.”\u003c/p>\n\u003cp>\u003cstrong>On the advantages of being tall \u003c/strong>\u003c/p>\n\u003cp>There is nothing bad about being tall. … When you’re tall you sort of get more points, like people think you’re better looking. Tall people get paid more money generally; presidents are taller than the average man.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I feel like it’s been great for me to be tall because it gives me something in the world that sometimes being black takes away from me … and when need be, I can use my height and my size to my advantage to get out of difficult situations. For example, with the Klan, those guys are all pretty short. So as much as they hate a black guy, the 6-foot-4-inch, 250-pound black guy is a different thing than maybe the black guy they imagined. So that’s a time to stand up taller, and to stand over people and go, “Yes, can you tell me about this cross?” … That’s a benefit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+W.+Kamau+Bell+On+Standing+Tall+And+Finding+Humor+In+America%27s+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Time was when every other drama about troubled youth came packaged with evil, inept or uncomprehending government functionaries itching to make matters worse. In Emmanuelle Bercot’s sympathetic \u003cem>Standing Tall\u003c/em>, one sorely lacking caseworker shows up briefly to rub salt in the prior wounds of a damaged youngster. He is quickly dispatched though, and from then on the film tags along with a team of dedicated workers trying to rescue the teenager from a rotten past, a lousy future, and his own hair-trigger temper. There’s not a saint among them, but their devotion rarely flags.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oucJZHGN9ic\u003c/p>\n\u003cp>If that’s a rosy view of how things go down in the halls of juvenile correction, it’s one that shows a refreshing appreciation for the compassion and perseverance of those on the front lines of a system that often seems primed for failure. For anyone who loves films about who we are when we’re working, \u003cem>Standing Tall\u003c/em> is a fine procedural that’s less concerned with the roots of delinquency or with institutional inertia than with the hair-raising ebb and flow of daily life in the juvie trenches.\u003c/p>\n\u003cp>No fingers are pointed here, and the movie brigns no fresh news about the forces that warped young Malony (played by Rod Paradot, an electric natural plucked from carpentry school) into the bundle of warring impulses he’s become since we first met him as a cute, terrified six-year-old. Abandoned by an ill-equipped mother (a very good Sara Forestier) who loves him in her way but is barely more than a child herself, Malony now bounces between foster families and juvenile courts, running wild with only a compassionate judge (Catherine Deneuve) standing between him and adult prison.\u003c/p>\n\u003cp>As a blowsy late bloomer in Bercot’s pleasantly knockabout 2013 road movie \u003cem>On My Way\u003c/em>, Deneuve clearly relished the release from her reputation as an ice queen. Here she offers a precisely observed friction between serenely maternal, crafty and exasperated as the magistrate who, on the verge of retirement, knows how stacked the deck is against the likes of Malony, yet never quite succumbs to cynicism or despair. She’s helped, mostly, by a caseworker (Benoit Magimel) who’s up from the gutter himself and careens between tenacious support of his young charge and terror that he my never be fully out of the woods himself. Picking their way through a system that stands ready to put Malony away for good, they steer the boy to a residential home in a bucolic country setting, where we see him struggle with other kids as volatile and as vulnerable as he is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pleasure of \u003cem>Standing Tall\u003c/em> lies in its intelligent fidelity to process, to the Sisyphean struggle that both Malony and his stubborn but tested protectors face. We see the minuscule steps forward and the helpless backsliding that hold this frequently unlikable youngster captive to a reactivity that threatens his frail yet potent attachment to his mother, to the troubled yet loving girl (Diane Rouxel) who offers him love and hope, to the judge who refuses to give up on him. Deftly shuffling points of view with a soundtrack that veers between classical pieces and rap, Bercot moves the action along with unsteady, staccato rhythms that juggle Malony’s simmering rage with his yearning for an ordinary life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end of this kindly film we want to give it to him, and though it’s easy enough to write off the climax as frankly wishful, Bercot has cunningly stashed a nascent gift in the prologue to \u003cem>Standing Tall\u003c/em>. This tortured young man has an innate talent that will help him earn the future she has bestowed on him, and send his helper into retirement resting easy.\u003c/p>\n\n",
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"title": "Who Owns 'We Shall Overcome'? All of Us, a Lawsuit Claims",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474120870/474120871\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most iconic songs of the civil rights movement is now the subject of a lawsuit.\u003c/p>\n\u003cp>The same law firm that recently \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442694777/happy-birthday-to-us-all-judge-rules-tune-is-public-domain\" target=\"_blank\" rel=\"noopener\">succeeded in releasing\u003c/a> “Happy Birthday” from copyright rules is now hoping to do the same for “We Shall Overcome.” Filed Tuesday in New York federal court, \u003ca href=\"http://www.whafh.com/case/we-shall-overcome-foundation-v-the-richmond-organization-inc/\" target=\"_blank\" rel=\"noopener\">the suit\u003c/a> claims the song belongs in the public domain, and seeks a return of “unlawful licensing fees” from the publishers.\u003c/p>\n\u003cp>The lawsuit was filed on behalf of the \u003ca href=\"http://weshallovercomefoundation.org/\" target=\"_blank\" rel=\"noopener\">We Shall Overcome Foundation\u003c/a>, a non-profit lead by Isaias Gamboa. A few years ago, Gamboa wrote a book about the history of the song. Now, he’s working on a documentary based on his research. When he contacted the song’s publishers, “they actually prevented me from using the song in the film, which I wasn’t expecting,” he says.\u003c/p>\n\u003cp>Knowing the song’s origins, Gamboa says he couldn’t understand why “We Shall Overcome” would be copyrighted in the first place. “It was always a derivative work,” he says, “and was based on a spiritual from back in the day, as they say.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song’s roots run deep. Slaves sang “I’ll Overcome” in the fields; striking workers sang “we will overcome” on the picket lines. It was an African-American spiritual. So how did the version we know today get copyrighted at all?\u003c/p>\n\u003cp>A little more history: In the 1940s, African-American tobacco workers sang a version of the song on the picket lines in South Carolina. They introduced the song at the Highlander Folk Center in Tennessee, a meeting place for black and white labor activists. Highlander’s music director, Zilphia Horton, introduced the song to \u003ca href=\"http://www.npr.org/artists/15869924/pete-seeger\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, who helped turn it into an international protest anthem.\u003c/p>\n\u003cp>In the early 1960s, Ludlow Music registered “We Shall Overcome” as an “unpublished derivative work.” The plaintiff claims this copyright only covers some new verses and an arrangement, not the original melody and lyrics.\u003c/p>\n\u003cp>Ludlow’s copyright names four people, including Zilphia Horton and Pete Seeger. In a 1993 book, Seeger said he and the others only signed the copyright to protect its legacy. “In the early ’60s our publishers said to us, ‘If you don’t copyright this now, some Hollywood types will have a version out next year — like, ‘come on baby, we shall overcome tonight,'” Seeger wrote.\u003c/p>\n\u003cp>The defendants in the case, The Richmond Organization and Ludlow Music, declined to be interviewed. In a statement to NPR, they write the lawsuit “goes too far and attempts to nullify the contribution of these authors which brought into being the iconic song we know today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The publishers also write that “100% of the writers’ royalties generated by ‘We Shall Overcome’ have gone to the ‘We Shall Overcome Fund’ operating in affiliation with the Highlander Folk School in Monteagle, Tennessee, supporting the Fund’s mission to nurture grassroots efforts within African American communities to use art and activism against injustice.” \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=Who+Owns+%27We+Shall+Overcome%27%3F+All+Of+Us%2C+A+Lawsuit+Claims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474120870/474120871\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most iconic songs of the civil rights movement is now the subject of a lawsuit.\u003c/p>\n\u003cp>The same law firm that recently \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442694777/happy-birthday-to-us-all-judge-rules-tune-is-public-domain\" target=\"_blank\" rel=\"noopener\">succeeded in releasing\u003c/a> “Happy Birthday” from copyright rules is now hoping to do the same for “We Shall Overcome.” Filed Tuesday in New York federal court, \u003ca href=\"http://www.whafh.com/case/we-shall-overcome-foundation-v-the-richmond-organization-inc/\" target=\"_blank\" rel=\"noopener\">the suit\u003c/a> claims the song belongs in the public domain, and seeks a return of “unlawful licensing fees” from the publishers.\u003c/p>\n\u003cp>The lawsuit was filed on behalf of the \u003ca href=\"http://weshallovercomefoundation.org/\" target=\"_blank\" rel=\"noopener\">We Shall Overcome Foundation\u003c/a>, a non-profit lead by Isaias Gamboa. A few years ago, Gamboa wrote a book about the history of the song. Now, he’s working on a documentary based on his research. When he contacted the song’s publishers, “they actually prevented me from using the song in the film, which I wasn’t expecting,” he says.\u003c/p>\n\u003cp>Knowing the song’s origins, Gamboa says he couldn’t understand why “We Shall Overcome” would be copyrighted in the first place. “It was always a derivative work,” he says, “and was based on a spiritual from back in the day, as they say.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song’s roots run deep. Slaves sang “I’ll Overcome” in the fields; striking workers sang “we will overcome” on the picket lines. It was an African-American spiritual. So how did the version we know today get copyrighted at all?\u003c/p>\n\u003cp>A little more history: In the 1940s, African-American tobacco workers sang a version of the song on the picket lines in South Carolina. They introduced the song at the Highlander Folk Center in Tennessee, a meeting place for black and white labor activists. Highlander’s music director, Zilphia Horton, introduced the song to \u003ca href=\"http://www.npr.org/artists/15869924/pete-seeger\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, who helped turn it into an international protest anthem.\u003c/p>\n\u003cp>In the early 1960s, Ludlow Music registered “We Shall Overcome” as an “unpublished derivative work.” The plaintiff claims this copyright only covers some new verses and an arrangement, not the original melody and lyrics.\u003c/p>\n\u003cp>Ludlow’s copyright names four people, including Zilphia Horton and Pete Seeger. In a 1993 book, Seeger said he and the others only signed the copyright to protect its legacy. “In the early ’60s our publishers said to us, ‘If you don’t copyright this now, some Hollywood types will have a version out next year — like, ‘come on baby, we shall overcome tonight,'” Seeger wrote.\u003c/p>\n\u003cp>The defendants in the case, The Richmond Organization and Ludlow Music, declined to be interviewed. In a statement to NPR, they write the lawsuit “goes too far and attempts to nullify the contribution of these authors which brought into being the iconic song we know today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The publishers also write that “100% of the writers’ royalties generated by ‘We Shall Overcome’ have gone to the ‘We Shall Overcome Fund’ operating in affiliation with the Highlander Folk School in Monteagle, Tennessee, supporting the Fund’s mission to nurture grassroots efforts within African American communities to use art and activism against injustice.” \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=Who+Owns+%27We+Shall+Overcome%27%3F+All+Of+Us%2C+A+Lawsuit+Claims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'You Couldn't Help But Be The Student': Remembering Tony Conrad",
"headTitle": "‘You Couldn’t Help But Be The Student’: Remembering Tony Conrad | KQED",
"content": "\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FGMnDcwoXns\u003c/p>\n\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jt7A5vW_LEg\u003c/p>\n\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HveVIhfO8Rs\u003c/p>\n\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJbqnztjkbs\u003c/p>\n\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-CQBe2mNW60\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=%27You+Couldn%27t+Help+But+Be+The+Student%27%3A+Remembering+Tony+Conrad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\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/FGMnDcwoXns'\n title='//www.youtube.com/embed/FGMnDcwoXns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\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/Jt7A5vW_LEg'\n title='//www.youtube.com/embed/Jt7A5vW_LEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\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/HveVIhfO8Rs'\n title='//www.youtube.com/embed/HveVIhfO8Rs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\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/ZJbqnztjkbs'\n title='//www.youtube.com/embed/ZJbqnztjkbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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