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"content": "\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jb1oCjiIu9M\u003c/p>\n\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \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=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\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/jb1oCjiIu9M'\n title='//www.youtube.com/embed/jb1oCjiIu9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \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=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A river cruise is like a movie. The boat glides from scene to scene, the travelers get to know each other, and around the final curve awaits resolution, or perhaps revelation.\u003c/p>\n\u003cp>Or at least that’s how the voyage proceeds in Colombian director and co-writer Ciro Guerra’s fascinating \u003cem>The Embrace of the Serpent\u003c/em>. Nominated for the best foreign-language-film Oscar, the Amazon-set drama is a trip in more ways than one. It intertwines two journeys of discovery, inspired by the real-life journals of German ethnologist Theodor Koch-Grunberg and American ethno-botanist Richard Evans Schultes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uymNkBuR-SY\u003c/p>\n\u003cp>Both are looking for a rare plant, although for different reasons. In 1909, Theo (Jan Bijvoet) is seriously ill, and his semi-Westernized native guide (Miguel Dionisio Ramos) believes yakruna will save him. The men seek a young shaman, Karamakate (Nilbio Torres), who mistrusts white people and believes himself the last of his tribe. Only when Theo says he can reconnect Karamakate with his surviving kin does the healer join the expedition.\u003c/p>\n\u003cp>Some 30 years later, Evans (Brionne Davis) follows Theo’s path. The American has been recruited to find new sources of rubber for his country, at war with a Japan that controls Southeast Asia’s sticky sap. Evans is an expert on hallucinogenic plants and hopes to find yakruna. He enlists an older Karamakate (Antonio Bolivar), who believes he has lost his memory, and perhaps even his identity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Karamakate’s wisdom mingles the practical, the ecological, and the mystical. To him, shooting stars become totemic animals, including the jaguar and the boa, which impart wisdom in dreams. He laughs, a generation apart, at Theo and Evans’ attachment to their possessions. He’s also amused by Theo’s songs, although suitably awed when Evans’ gramophone emits Haydn’s “The Creation.”\u003c/p>\n\u003cp>Such devices, which include the compass Theo loses to a village chief, are the white man’s magic. They are potentially corrupting, since they may supplant the local knowledge and cause even a shaman to forget who he used to be.\u003c/p>\n\u003cp>During the two quests, several episodes justify Karamakate’s contempt for European explorers and exploiters, who’ve oppressed indigenous peoples in the service of both rubber and Jesus. A stop at an orphanage run by a lone monk is as chilling an illustration of the white man’s jungle madness as \u003cem>Aguirre, the Wrath of God\u003c/em>. And when Evans and Karamakate arrive at the same mission three decades later, the place has descended into a nightmare worthy of \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Theo and Evans each lug cameras into the Amazon basin, and David Gallego’s cinematography honors the period by being black-and-white — but crisp and widescreen, very unlike the vintage glass-plate photo in which Karamakate is confused to glimpse a version of himself. The elegant monochromatic compositions also contrast a short full-color sequence near the journey’s end.\u003c/p>\n\u003cp>Yakruna is a (fictional) plant used to make a brew that summons vomit and visions. It’s not clear that it can cure Theo’s exotic illness, but perhaps it can rectify Evans’ scientific detachment.\u003c/p>\n\u003cp>That may be Guerra’s goal for the viewer as well. \u003cem>The Embrace of the Serpent\u003c/em>, whose title is a metaphor for psychedelic experience, isn’t as flamboyantly nutty as such hippie-era Latin perplexities as Alejandro Jodorowsky’s \u003cem>El Topo\u003c/em>. But it is bewitchingly strange, and as enveloping as the Amazon jungle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indeed, the place itself is transformative. To embrace the serpent may be to digest strange dreams, but an overhead shot of the terrain ultimately suggests another meaning. From above, it’s clear that the river coils through the forest like an endless snake.\u003c/p>\n\n",
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"content": "\u003cp>The Danish entry in the foreign language Oscar sweepstakes, \u003cem>A War\u003c/em>, begins in Afghanistan, deep in Taliban territory. A Danish patrol is walking single file across a field. Each man steps where the previous man stepped … alas, to no avail. A land mine explodes, killing the baby-faced last soldier in the line.\u003c/p>\n\u003cp>Back at the squad’s fortified HQ, Claus, their 30-something commanding officer, decides he will not send his men out again without being there himself, a decision that will later have repercussions. He’s a decent man — a father, a caring officer, proud of the role his soldiers play in protecting civilians. This war, though, turns such considerations on their heads. Help an Afghan family, and the Taliban is apt to target that family, which is how Claus later finds himself with his squad in an ambush.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MyygZlPuoFQ\u003c/p>\n\u003cp>One of his men — a soldier who was traumatized in the first incident to the point that Claus almost had to send him home — is hit and will die without assistance. The rest are pinned down, unable to tell where shots are coming from. Claus calls in an airstrike on a nearby compound, not quite sure that that’s where the shots are coming from, but it turns out he was right. His action saves his men.\u003c/p>\n\u003cp>But a few days later, he is called in for an inquiry. There were civilians in the compound, too. After a debriefing, he is sent back to his wife and kids in Copenhagen, charged with war crimes. And the complications are just beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first half of \u003cem>A War\u003c/em> was shot in Turkey, and nearly all the roles in that war-zone setting were cast with nonactors — Afghan refugees, Danish ex-soldiers — which helped filmmaker Tobias Lindholm achieve a documentary-like realism there. In the scenes at Claus’ home and in the courtroom, the director relies more on leading man Pilou Asbaek, who has a solemn, brooding manner that is likely to serve him well in a substantial role he has landed in the coming season of \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>Lindholm has said in interviews that just as films about the Vietnam War gave the American public a way to process a national trauma, he hopes his film can do that for a Danish public that has been sending troops to Iraq and Afghanistan for much of the past decade and a half. And indeed, he has freighted \u003cem>A War\u003c/em> with many of the same moral quandaries, impossible choices, terrible consequences.\u003c/p>\n\u003cp>In Afghanistan, Claus’ soldiers are tense, their foothold insecure, the civilians they’re protecting anxious. He returns to find his home tense, his children insecure, his wife anxious. If what he did in the war zone to save his men was criminal, what should he do at home?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the courtroom, with his attorney staring down the prosecutor, the battle lines seem so clear. In his own mind, they’re less clear. What do you do when there’s no right move? \u003cem>A War\u003c/em> brings that question home.\u003c/p>\n\n",
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"content": "\u003cp>An image of man passing a baby under a fence at the Hungarian-Serbian border has taken top honors at this year’s World Press Photo of the Year.\u003c/p>\n\u003cp>The photo, titled “Hope for a New Life,” was taken by Australian photographer Warren Richardson and shows a man with his eyes set on the horizon, passing the infant under coils of razor-wire into outstretched arms in the moonlight.\u003c/p>\n\u003cp>Richardson took the photo in late August in Röszke, Hungary, which is on the border with Serbia. Hungarian police have \u003ca href=\"http://www.npr.org/2015/09/15/440477068/hungary-closes-border-with-serbia-vows-to-arrest-trespassers\" target=\"_blank\" rel=\"noopener\">routinely cracked down on\u003c/a> the massive flow of migrants fleeing from Syria, Iraq and other countries.\u003c/p>\n\u003cp>“It had such power because of its simplicity, especially the symbolism of the barbed wire,” general jury chair and Agence France-Press photo director Francis Kohn said \u003ca href=\"http://www.worldpressphoto.org/news/2016-02-18/world-press-photo-year-2015-goes-warren-richardson\" target=\"_blank\" rel=\"noopener\">in a press release from World Press Photo.\u003c/a>\u003c/p>\n\u003cp>“It’s subtle, and shows the emotion and the real feeling from the deep heart of a father just trying to hand over his baby to the world he was longing to be in,” adds jury member and director of new media development at Xinhua News Agency Huang Wen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richardson describes the experience of covering border crossings in this area over the course of five days \u003ca href=\"http://www.warrenrichardson.com/2957080-refugee-crisis-hungary\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>: “There were men, women and children, amputees, the sick, all with stories to tell about where they had come from and where they wanted to go.”\u003c/p>\n\u003cp>One night stood out, he says. “There was a group of Syrians hiding amongst the apple trees on the Serbian side of the border with Hungary, their challenge was to put as many people under the newly constructed razor wire fence. In the group there were some ten engineers that had taken a good look at the fence to see where they could cross so that they could get as many of their friends and family members into Hungary.”\u003c/p>\n\u003cp>Here’s more of Richardson’s account:\u003c/p>\n\u003cblockquote>\n\u003cp>“Like a finely tuned machine, they played cat and mouse with the Hungarian police. The police would come and go from near where the Syrian group was hiding. Each time the police showed up, they would try to fix the fence so that people would not go under. But each time the police would leave, the Syrian engineers would make another hole so that they could help as many people as possible get under the fence. The police continually returned to the same spot, but this time they were a little more verbal and angry. The police attempted to fix the new holes that the Syrian engineers had made. The police were yelling into the darkness in broken English, ‘do not come illegally into Hungary, go away we do not want you here, if we catch you, you will be arrested.’ They proceeded to spray pepper everywhere to prevent anyone from using this particular spot. Again the police moved on to check other areas they were having problems with. Once again the Syrian engineers, with tears in their eyes from the pepper spray, created another hole in the fence to allow more people to move forward into Hungary to get to Germany, as this is where they desperately wanted to be. Four hours on from when they started, they had helped more than 200 people go under the razor wire fence. Once everyone had passed under the fence, the Syrian engineers said their last good byes to me, and left as they were the last ones to go into the darkness of the night.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s not clear if the man depicted in this photo was among this particular group of engineers. But it gives a sense of the atmosphere where this photo was taken.\u003c/p>\n\u003cp>In a press release from World Press Photo, Richardson says the photo was taken by moonlight, because a flash would give away their location to the police.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richardson, who is currently based in Eastern Europe, \u003ca href=\"http://www.warrenrichardson.com/about\">says on his website\u003c/a> that his next project will involve walking to the Arctic Circle. \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=Haunting+Photo+Of+Migrants+Takes+World+Press+Photo%27s+Top+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richardson describes the experience of covering border crossings in this area over the course of five days \u003ca href=\"http://www.warrenrichardson.com/2957080-refugee-crisis-hungary\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>: “There were men, women and children, amputees, the sick, all with stories to tell about where they had come from and where they wanted to go.”\u003c/p>\n\u003cp>One night stood out, he says. “There was a group of Syrians hiding amongst the apple trees on the Serbian side of the border with Hungary, their challenge was to put as many people under the newly constructed razor wire fence. In the group there were some ten engineers that had taken a good look at the fence to see where they could cross so that they could get as many of their friends and family members into Hungary.”\u003c/p>\n\u003cp>Here’s more of Richardson’s account:\u003c/p>\n\u003cblockquote>\n\u003cp>“Like a finely tuned machine, they played cat and mouse with the Hungarian police. The police would come and go from near where the Syrian group was hiding. Each time the police showed up, they would try to fix the fence so that people would not go under. But each time the police would leave, the Syrian engineers would make another hole so that they could help as many people as possible get under the fence. The police continually returned to the same spot, but this time they were a little more verbal and angry. The police attempted to fix the new holes that the Syrian engineers had made. The police were yelling into the darkness in broken English, ‘do not come illegally into Hungary, go away we do not want you here, if we catch you, you will be arrested.’ They proceeded to spray pepper everywhere to prevent anyone from using this particular spot. Again the police moved on to check other areas they were having problems with. Once again the Syrian engineers, with tears in their eyes from the pepper spray, created another hole in the fence to allow more people to move forward into Hungary to get to Germany, as this is where they desperately wanted to be. Four hours on from when they started, they had helped more than 200 people go under the razor wire fence. Once everyone had passed under the fence, the Syrian engineers said their last good byes to me, and left as they were the last ones to go into the darkness of the night.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s not clear if the man depicted in this photo was among this particular group of engineers. But it gives a sense of the atmosphere where this photo was taken.\u003c/p>\n\u003cp>In a press release from World Press Photo, Richardson says the photo was taken by moonlight, because a flash would give away their location to the police.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richardson, who is currently based in Eastern Europe, \u003ca href=\"http://www.warrenrichardson.com/about\">says on his website\u003c/a> that his next project will involve walking to the Arctic Circle. \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=Haunting+Photo+Of+Migrants+Takes+World+Press+Photo%27s+Top+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Hail, Caesar!' Will Make You Miss Movies With Exclamation Points",
"headTitle": "‘Hail, Caesar!’ Will Make You Miss Movies With Exclamation Points | KQED",
"content": "\u003cp>\u003cem>Hail, Caesar!,\u003c/em> the 17th feature from indefatigable screenwriting, directing and (pseudo-nonamously) editing brothers Joel and Ethan Coen, is rated PG-13 for “suggestive content and smoking.” But save for one word — \u003cem>sodomy\u003c/em> — and a few less clinical terms that have long been allowed on network TV, this genial farce set in 1950s Hollywood could’ve almost passed muster under the Hays Code. It follows a frantic couple of days in the life of Eddie Mannix, head of Physical Production for Capitol Pictures. Any resemblance between this character and the historical Eddie Mannix, a legendary “fixer” for MGM Studios during Hollywood’s Golden Age, is purely … well, the Coens would prefer you not ask such boring questions. But for what it’s worth, movie-Mannix’s boss \u003cem>also\u003c/em> shares his name with a real-life showbiz mogul of antiquity, Nick Schenck.\u003c/p>\n\u003cp>While biographers and historians have \u003ca href=\"http://www.slate.com/articles/podcasts/you_must_remember_this/2015/11/eddie_mannix_mgm_s_fixer_and_the_scandal_of_patricia_douglas.html\">linked the real Mannix to any number of dark deeds\u003c/a>, his \u003cem>Hail, Caesar! \u003c/em>alter ego is, surprisingly, not such a bad guy. As embodied by Josh Brolin, a leading man’s man whose rugged charm was on full display in the Coens’ 2007 best picture-winner \u003cem>No Country for Old Men,\u003c/em> Eddie is wily enough to succeed in pictures, but decent so far as it goes: hardworking, fair to his employees, warm and respectful with his wife, a pragmatist with a conscience. (He’s availing himself of the Catholic sacrament of penance when we meet him, in point of fact.) But he’s no pushover: He keeps Capitol Pictures pictures on schedule and on budget, and Capitol Pictures stars out of jail and out of the papers. If that means manipulating reporters, or making the occasional on-the-spot cash contribution to the Patrolmen’s Benevolent Association, well, that’s life in the Dream Factory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jfyaZ1FFZrM\u003c/p>\n\u003cp>Eddie finds his considerable problem-solving acumen tested when Baird Whitlock (game George Clooney, in his fourth Coen Bros. joint), the affable-but-dim star of Capitol’s in-production religious epic \u003cem>Hail, Caesar!\u003c/em>, is kidnapped. (Yes, \u003cem>Raising Arizona, Fargo\u003c/em> and \u003cem>The Big Lebowski\u003c/em> all turned on kidnappings, too. One suspects that both Coens carry ransom insurance.)\u003c/p>\n\u003cp>While Eddie hustles to recover his actor and to keep the incident under wraps, other production emergencies vie for his attention. For one thing, DeeAnna Moran (Scarlett Johnansson), the star of family “aquatic pictures” featuring Busby Berkeley-style choreography, is twice-divorced and the mother of a child by a third man — which means Eddie needs her to choose a spouse, pronto, for image-maintenance purposes. (After she’s pried out of her mermaid prosthetic, she gripes, “I don’t think I’m gonna fit back in that fish ass again.”) Then there’s the matter of British director Laurence Laurentz — played by Ralph Fiennes, whose walkabout into comedy in recent years is a boon to all humankind. Eddie has forced Laurentz to cast singing cowboy Hobie Doyle (Alden Ehrenreich, holding his own among much more famous company) in his Noel Coward-style Broadway adaptation \u003cem>Merrily We Dance\u003c/em>. Turns out Hobie isn’t nearly as comfortable gliding across a drawing room in a tuxedo as he is performing stunts on horseback.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While fighting all these fires, Eddie is also mulling a generous job offer from Lockheed Aircraft. More money, saner hours and, says the headhunter, a piece of the future. After all, who’s going to keep going to the pictures once every American home has a television set?\u003c/p>\n\u003cp>This frantic action pauses from time to time to allow the Coens to clear their throats on subjects that only filmmakers as frugal and revered as these two may touch: Whitlock soaks up his captors’ lectures on Marxism like a sponge — they’re a cabal of disgruntled screenwriters, naturally — while Eddie wrangles the panel of clerics and rabbis he’s convened to reassure him that \u003cem>Hail, Caesar!\u003c/em> will not offend any person of faith with its depiction of Jesus Christ. (Whether the extras hanging on crucifixes are entitled to hardship pay is the kind of matter Eddie can resolve himself.) But whatever point the Coens are trying to make about the pageantry of belief systems, they never sacrifice buoyancy to make it.\u003c/p>\n\u003cp>Appropriately for a yarn about The Industry, some of the best scenes hail from the films within the film. The best of these is \u003cem>No Dames!\u003c/em>, a sailors-on-shore-leave musical starring Bert Gurney (Channing Tatum, who is really a pretty good dancer. Who knew?). This long segment is even more homoerotic than the excerpts from \u003cem>Hail, Caesar!\u003c/em> — the Capitol Pictures Bible epic, I mean — and is easily the most delightful production number in a major motion picture since the Coens’ lifelong pal Sam Raimi shoehorned one into \u003cem>Spider-Man 3\u003c/em>. It’ll also make you miss the days long before the Age of Ultron, when movie titles had exclamation points instead of colons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hail, Caesar!\u003c/em> doesn’t have the weirdness of its authors’ other Old Hollywood film, 1991’s \u003cem>Barton Fink\u003c/em> (which also concerned the fictitious Capitol Pictures), or the weary soul of their prior feature, 2013’s haunting \u003cem>Inside Llewyn Davis\u003c/em>. Its pleasures are piecemeal and peculiar, like the way Sir Michael Gambon, the film’s narrator, elongates the phrase “in Westerly Malibu.” Or the way Tilda Swinton plays a pair of identical — and fiercely competitive — twin gossip columnists. Or the way that a work print of \u003cem>Hail, Caesar!\u003c/em> includes a title card reading DIVINE PRESENCE TO BE SHOT. They’re not the types to go fumbling for profundity, those Coens. Profoundly funny will do.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hail, Caesar!,\u003c/em> the 17th feature from indefatigable screenwriting, directing and (pseudo-nonamously) editing brothers Joel and Ethan Coen, is rated PG-13 for “suggestive content and smoking.” But save for one word — \u003cem>sodomy\u003c/em> — and a few less clinical terms that have long been allowed on network TV, this genial farce set in 1950s Hollywood could’ve almost passed muster under the Hays Code. It follows a frantic couple of days in the life of Eddie Mannix, head of Physical Production for Capitol Pictures. Any resemblance between this character and the historical Eddie Mannix, a legendary “fixer” for MGM Studios during Hollywood’s Golden Age, is purely … well, the Coens would prefer you not ask such boring questions. But for what it’s worth, movie-Mannix’s boss \u003cem>also\u003c/em> shares his name with a real-life showbiz mogul of antiquity, Nick Schenck.\u003c/p>\n\u003cp>While biographers and historians have \u003ca href=\"http://www.slate.com/articles/podcasts/you_must_remember_this/2015/11/eddie_mannix_mgm_s_fixer_and_the_scandal_of_patricia_douglas.html\">linked the real Mannix to any number of dark deeds\u003c/a>, his \u003cem>Hail, Caesar! \u003c/em>alter ego is, surprisingly, not such a bad guy. As embodied by Josh Brolin, a leading man’s man whose rugged charm was on full display in the Coens’ 2007 best picture-winner \u003cem>No Country for Old Men,\u003c/em> Eddie is wily enough to succeed in pictures, but decent so far as it goes: hardworking, fair to his employees, warm and respectful with his wife, a pragmatist with a conscience. (He’s availing himself of the Catholic sacrament of penance when we meet him, in point of fact.) But he’s no pushover: He keeps Capitol Pictures pictures on schedule and on budget, and Capitol Pictures stars out of jail and out of the papers. If that means manipulating reporters, or making the occasional on-the-spot cash contribution to the Patrolmen’s Benevolent Association, well, that’s life in the Dream Factory.\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/jfyaZ1FFZrM'\n title='//www.youtube.com/embed/jfyaZ1FFZrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eddie finds his considerable problem-solving acumen tested when Baird Whitlock (game George Clooney, in his fourth Coen Bros. joint), the affable-but-dim star of Capitol’s in-production religious epic \u003cem>Hail, Caesar!\u003c/em>, is kidnapped. (Yes, \u003cem>Raising Arizona, Fargo\u003c/em> and \u003cem>The Big Lebowski\u003c/em> all turned on kidnappings, too. One suspects that both Coens carry ransom insurance.)\u003c/p>\n\u003cp>While Eddie hustles to recover his actor and to keep the incident under wraps, other production emergencies vie for his attention. For one thing, DeeAnna Moran (Scarlett Johnansson), the star of family “aquatic pictures” featuring Busby Berkeley-style choreography, is twice-divorced and the mother of a child by a third man — which means Eddie needs her to choose a spouse, pronto, for image-maintenance purposes. (After she’s pried out of her mermaid prosthetic, she gripes, “I don’t think I’m gonna fit back in that fish ass again.”) Then there’s the matter of British director Laurence Laurentz — played by Ralph Fiennes, whose walkabout into comedy in recent years is a boon to all humankind. Eddie has forced Laurentz to cast singing cowboy Hobie Doyle (Alden Ehrenreich, holding his own among much more famous company) in his Noel Coward-style Broadway adaptation \u003cem>Merrily We Dance\u003c/em>. Turns out Hobie isn’t nearly as comfortable gliding across a drawing room in a tuxedo as he is performing stunts on horseback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While fighting all these fires, Eddie is also mulling a generous job offer from Lockheed Aircraft. More money, saner hours and, says the headhunter, a piece of the future. After all, who’s going to keep going to the pictures once every American home has a television set?\u003c/p>\n\u003cp>This frantic action pauses from time to time to allow the Coens to clear their throats on subjects that only filmmakers as frugal and revered as these two may touch: Whitlock soaks up his captors’ lectures on Marxism like a sponge — they’re a cabal of disgruntled screenwriters, naturally — while Eddie wrangles the panel of clerics and rabbis he’s convened to reassure him that \u003cem>Hail, Caesar!\u003c/em> will not offend any person of faith with its depiction of Jesus Christ. (Whether the extras hanging on crucifixes are entitled to hardship pay is the kind of matter Eddie can resolve himself.) But whatever point the Coens are trying to make about the pageantry of belief systems, they never sacrifice buoyancy to make it.\u003c/p>\n\u003cp>Appropriately for a yarn about The Industry, some of the best scenes hail from the films within the film. The best of these is \u003cem>No Dames!\u003c/em>, a sailors-on-shore-leave musical starring Bert Gurney (Channing Tatum, who is really a pretty good dancer. Who knew?). This long segment is even more homoerotic than the excerpts from \u003cem>Hail, Caesar!\u003c/em> — the Capitol Pictures Bible epic, I mean — and is easily the most delightful production number in a major motion picture since the Coens’ lifelong pal Sam Raimi shoehorned one into \u003cem>Spider-Man 3\u003c/em>. It’ll also make you miss the days long before the Age of Ultron, when movie titles had exclamation points instead of colons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hail, Caesar!\u003c/em> doesn’t have the weirdness of its authors’ other Old Hollywood film, 1991’s \u003cem>Barton Fink\u003c/em> (which also concerned the fictitious Capitol Pictures), or the weary soul of their prior feature, 2013’s haunting \u003cem>Inside Llewyn Davis\u003c/em>. Its pleasures are piecemeal and peculiar, like the way Sir Michael Gambon, the film’s narrator, elongates the phrase “in Westerly Malibu.” Or the way Tilda Swinton plays a pair of identical — and fiercely competitive — twin gossip columnists. Or the way that a work print of \u003cem>Hail, Caesar!\u003c/em> includes a title card reading DIVINE PRESENCE TO BE SHOT. They’re not the types to go fumbling for profundity, those Coens. Profoundly funny will do.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "American Musicals are so Popular in Paris, They're Coming Back to the U.S.",
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"content": "\u003cp>This week, the lights go down on another packed house at the \u003ca href=\"http://chatelet-theatre.com/en\" target=\"_blank\" rel=\"noopener\">Theatre du Chatelet\u003c/a>, the gilded\u003csup> \u003c/sup>19th century theater in Paris whose name has become synonymous with grand American musical productions. The latest hit is Cole Porter’s \u003cem>Kiss Me, Kate\u003c/em>, which ends a sold-out 10-day run this Friday.\u003c/p>\n\u003cp>Over the past decade, Parisians have relished such classics as \u003cem>Singin’ in the Rain\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>The Sound of Music\u003c/em>, all performed in English by international casts at the Chatelet. The French can’t seem to get enough of the musical genre, says\u003ca href=\"http://chatelet-theatre.com/en/direction-generale\" target=\"_blank\" rel=\"noopener\"> Jean-Luc Choplin\u003c/a>, the theater’s director.\u003c/p>\n\u003cp>“We have done Rodgers and Hammerstein, Gershwin, Bernstein, Sondheim, but we had not done Cole Porter until now, and it was time,” he says. He calls \u003cem>Kiss Me, Kate\u003c/em> a fitting tribute to one of the “big five” American musical composers who was also inspired by the City of Light.\u003c/p>\n\u003cp>\u003cem>Kiss Me, Kate \u003c/em>is the story of an acting troupe in Baltimore putting on a performance of Shakespeare’s \u003cem>The Taming of the Shrew.\u003c/em> The Chatelet’s version is directed by \u003ca href=\"http://www.leeblakeley.com/home-page\" target=\"_blank\" rel=\"noopener\">Lee Blakeley\u003c/a>, a Briton known for his grand staging of international operas. As a show within a show, \u003cem>Kiss Me, Kate\u003c/em> is fun, Blakeley says — but complicated.\u003c/p>\n\u003cp>“But musicals, in general, are more complicated to put on,” he says. “They are more episodic than plays or operas. There are more scenes. And the cast is interdisciplinary — with different skills that come into focus at different times. We have actors who act, actors who sing, singers who dance, dancers who act.”\u003c/p>\n\u003cfigure id=\"attachment_11316454\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg\" alt=\"The current run in Paris of 'Kiss Me, Kate' ends this Friday.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The current run in Paris of ‘Kiss Me, Kate’ ends this Friday. \u003ccite>(Photo: Marie-Noëlle Robert /Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blakeley has been a key part of the Chatelet’s musical success over the past six years, directing plays including \u003cem>Sunday in the Park with George\u003c/em> and \u003cem>The King and I\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Putting on a show at this theater is like nothing else, he says. “We have a massive stage, so we can create shows on a scale that’s hard to create anywhere else. Most stages are not this big in [London’s] West End or on Broadway. And it is such a glorious theater to perform in.”\u003c/p>\n\u003cp>Some of the Chatelet’s productions have been so well received, they’ve traveled back across the Atlantic — reaching new audiences in the U.S. and earning the Chatelet a name on Broadway.\u003c/p>\n\u003cp>“The quality coming out of Chatelet in the last few years is fantastic,” says Blakeley. “We’re now exporting American musicals back to America from Paris. Who would’ve thought that would happen?”\u003c/p>\n\u003cp>The Chatelet’s production of \u003cem>Sweeney Todd\u003c/em> was performed in Houston and San Francisco, and \u003cem>The King and I\u003c/em> played in Chicago. Choplin says he recently signed an agreement with \u003ca href=\"http://weinsteinco.com/about-us/harvey-weinstein/\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> to bring last year’s production of \u003cem>Singin’ in the Rain\u003c/em> to Broadway in 2017.\u003c/p>\n\u003cp>In 2014, the Chatelet teamed up with Broadway producers to create the world premiere stage version in Paris of the musical movie \u003cem>An American in Paris.\u003c/em> It went on to Broadway, where it won four Tony Awards and is still playing.\u003c/p>\n\u003cp>As a public theater, the Chatelet is subsidized by the city of Paris, something Choplin says gives him great leverage. “A producer coming to work with us doesn’t have to pay for the theater,” he says. “It is given with all of the personnel. And we do sets and costumes at a very competitive price because we have no overhead. So the conditions are fantastic. And there is time on stage to rehearse at no cost. For producers, that’s a great advantage.”\u003c/p>\n\u003cfigure id=\"attachment_11316455\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg\" alt=\"'Kiss Me, Kate' is the story of an American acting troupe putting on a performance of Shakespeare's 'The Taming of the Shrew.' It's fun, says the Chatelet production's director — but complicated to stage.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Kiss Me, Kate’ is the story of an American acting troupe putting on a performance of Shakespeare’s ‘The Taming of the Shrew.’ It’s fun, says the Chatelet production’s director — but complicated to stage. \u003ccite>(Photo: Marie-Noëlle Robert/Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Chatelet earns money when Choplin sells its first-rate productions abroad. It’s a public-private model that’s getting increasing attention in the world of musical theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Choplin began introducing Parisians to American musicals a decade ago. It’s all in keeping with the eclectic mix of performances the theater has featured \u003ca href=\"http://chatelet-theatre.com/en/un-peu-d-histoire\">since it opened in 1862\u003c/a>. The Chatelet serves as a bridge between art and entertainment, Choplin says. “We try to do things that are popular and sophisticated,” he says. “And I think we do them very cleverly, and with a kind of Parisian elegance.” \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=American+Musicals+Are+So+Popular+In+Paris%2C+They%27re+Coming+Back+To+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "French audiences have flocked to Paris productions of American musicals like \u003cem>Kiss Me, Kate, \u003c/em>which closes this week. France's versions of some of these plays are also being exported back to the U.S.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the lights go down on another packed house at the \u003ca href=\"http://chatelet-theatre.com/en\" target=\"_blank\" rel=\"noopener\">Theatre du Chatelet\u003c/a>, the gilded\u003csup> \u003c/sup>19th century theater in Paris whose name has become synonymous with grand American musical productions. The latest hit is Cole Porter’s \u003cem>Kiss Me, Kate\u003c/em>, which ends a sold-out 10-day run this Friday.\u003c/p>\n\u003cp>Over the past decade, Parisians have relished such classics as \u003cem>Singin’ in the Rain\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>The Sound of Music\u003c/em>, all performed in English by international casts at the Chatelet. The French can’t seem to get enough of the musical genre, says\u003ca href=\"http://chatelet-theatre.com/en/direction-generale\" target=\"_blank\" rel=\"noopener\"> Jean-Luc Choplin\u003c/a>, the theater’s director.\u003c/p>\n\u003cp>“We have done Rodgers and Hammerstein, Gershwin, Bernstein, Sondheim, but we had not done Cole Porter until now, and it was time,” he says. He calls \u003cem>Kiss Me, Kate\u003c/em> a fitting tribute to one of the “big five” American musical composers who was also inspired by the City of Light.\u003c/p>\n\u003cp>\u003cem>Kiss Me, Kate \u003c/em>is the story of an acting troupe in Baltimore putting on a performance of Shakespeare’s \u003cem>The Taming of the Shrew.\u003c/em> The Chatelet’s version is directed by \u003ca href=\"http://www.leeblakeley.com/home-page\" target=\"_blank\" rel=\"noopener\">Lee Blakeley\u003c/a>, a Briton known for his grand staging of international operas. As a show within a show, \u003cem>Kiss Me, Kate\u003c/em> is fun, Blakeley says — but complicated.\u003c/p>\n\u003cp>“But musicals, in general, are more complicated to put on,” he says. “They are more episodic than plays or operas. There are more scenes. And the cast is interdisciplinary — with different skills that come into focus at different times. We have actors who act, actors who sing, singers who dance, dancers who act.”\u003c/p>\n\u003cfigure id=\"attachment_11316454\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg\" alt=\"The current run in Paris of 'Kiss Me, Kate' ends this Friday.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The current run in Paris of ‘Kiss Me, Kate’ ends this Friday. \u003ccite>(Photo: Marie-Noëlle Robert /Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blakeley has been a key part of the Chatelet’s musical success over the past six years, directing plays including \u003cem>Sunday in the Park with George\u003c/em> and \u003cem>The King and I\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Putting on a show at this theater is like nothing else, he says. “We have a massive stage, so we can create shows on a scale that’s hard to create anywhere else. Most stages are not this big in [London’s] West End or on Broadway. And it is such a glorious theater to perform in.”\u003c/p>\n\u003cp>Some of the Chatelet’s productions have been so well received, they’ve traveled back across the Atlantic — reaching new audiences in the U.S. and earning the Chatelet a name on Broadway.\u003c/p>\n\u003cp>“The quality coming out of Chatelet in the last few years is fantastic,” says Blakeley. “We’re now exporting American musicals back to America from Paris. Who would’ve thought that would happen?”\u003c/p>\n\u003cp>The Chatelet’s production of \u003cem>Sweeney Todd\u003c/em> was performed in Houston and San Francisco, and \u003cem>The King and I\u003c/em> played in Chicago. Choplin says he recently signed an agreement with \u003ca href=\"http://weinsteinco.com/about-us/harvey-weinstein/\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> to bring last year’s production of \u003cem>Singin’ in the Rain\u003c/em> to Broadway in 2017.\u003c/p>\n\u003cp>In 2014, the Chatelet teamed up with Broadway producers to create the world premiere stage version in Paris of the musical movie \u003cem>An American in Paris.\u003c/em> It went on to Broadway, where it won four Tony Awards and is still playing.\u003c/p>\n\u003cp>As a public theater, the Chatelet is subsidized by the city of Paris, something Choplin says gives him great leverage. “A producer coming to work with us doesn’t have to pay for the theater,” he says. “It is given with all of the personnel. And we do sets and costumes at a very competitive price because we have no overhead. So the conditions are fantastic. And there is time on stage to rehearse at no cost. For producers, that’s a great advantage.”\u003c/p>\n\u003cfigure id=\"attachment_11316455\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg\" alt=\"'Kiss Me, Kate' is the story of an American acting troupe putting on a performance of Shakespeare's 'The Taming of the Shrew.' It's fun, says the Chatelet production's director — but complicated to stage.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Kiss Me, Kate’ is the story of an American acting troupe putting on a performance of Shakespeare’s ‘The Taming of the Shrew.’ It’s fun, says the Chatelet production’s director — but complicated to stage. \u003ccite>(Photo: Marie-Noëlle Robert/Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Chatelet earns money when Choplin sells its first-rate productions abroad. It’s a public-private model that’s getting increasing attention in the world of musical theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Choplin began introducing Parisians to American musicals a decade ago. It’s all in keeping with the eclectic mix of performances the theater has featured \u003ca href=\"http://chatelet-theatre.com/en/un-peu-d-histoire\">since it opened in 1862\u003c/a>. The Chatelet serves as a bridge between art and entertainment, Choplin says. “We try to do things that are popular and sophisticated,” he says. “And I think we do them very cleverly, and with a kind of Parisian elegance.” \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=American+Musicals+Are+So+Popular+In+Paris%2C+They%27re+Coming+Back+To+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "luncheon-in-fur-the-surrealist-teacup-that-stirred-the-art-world",
"title": "'Luncheon In Fur': The Surrealist Teacup that Stirred the Art World",
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"headTitle": "‘Luncheon In Fur’: The Surrealist Teacup that Stirred the Art World | KQED",
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"content": "\u003cp>As the world celebrates one hundred years of dadaism, it is worth looking at how this “anti-art” art movement that started in a café in Zurich during World War I resulted in an iconic artwork involving that most humble object of tableware: the teacup.\u003c/p>\n\u003cp>In 1936, a 23-year-old Swiss artist named Meret Oppenheim bought a teacup, saucer and spoon from a department store in Paris and wrapped them in the cream-and-tan pelt of a Chinese gazelle. Her hirsute little offering became a defining artifact of surrealism — the art movement that sprang from dadaism’s flamboyant entrails.\u003c/p>\n\u003cp>Part of the sculpture’s appeal lay in the conversation that led to its creation.\u003c/p>\n\u003cp>One day in 1936, Oppenheim met her friends Pablo Picasso and his new lover, Dora Maar, at the Café de Flore, the modish Paris coffeehouse that was a regular haunt of artists. Beautiful, witty and fiercely independent, Oppenheim had been living in Paris for the last four years. She had scarcely managed to sell her art, but made a modest income by designing jewelry and accessories for the trailblazing fashion designer Elsa Schiaparelli, known for her shoe-shaped hats and telephone-shaped purses. As part of the surrealist set, Oppenheim had posed nude for Man Ray’s camera and had recently ended a passionate yearlong love affair with the German painter Max Ernst, suddenly calling it off over lunch at a café.\u003c/p>\n\u003cp>Cafes would play an important role in her life. The story goes that at the Café de Flore, Picasso commented on Oppenheim’s bracelet – a broad round brass cuff wrapped in ocelot fur that she had designed the previous year for Schiaparelli. Picasso remarked that one could cover anything with fur. “Even this plate and this cup here,” Oppenheim replied. Then, when she found that her tea was cooling, she jokingly asked the waiter for “\u003cem>un peu plus de fourrure\u003c/em>” — or “a little more fur” — to swaddle her cup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly afterward, Oppenheim went to the department store in what would become the most famous shopping trip of her career. In her studio, she artfully wrapped the items in such a way that the tan formed a dark border around the teacup’s outer rim to match the saucer, while the body of the cup itself was offset in creamy white.\u003c/p>\n\u003cp>André Breton, the founder of surrealism, was enchanted. Here was an artwork that chimed with his declaration that “beauty will be convulsive or will not be at all.” He called it \u003cem>Le Déjeuner en fourrure\u003c/em> (\u003cem>L\u003c/em>\u003cem>uncheon\u003c/em>\u003cem> in Fur\u003c/em>, though in English it is also known as \u003cem>Breakfast in Fur\u003c/em>) and exhibited it that year at the first surrealist exhibition dedicated to objects.\u003c/p>\n\u003cp>As the talking point of the show, the sculpture became the receptacle of all kinds of theories, fears and longings. This being the age of Freud, a gastro-sexual interpretation was inescapable: the spoon was phallic, the cup vaginal, the hair pubic. For some, the tongue-shaped spoon brought to mind unpleasant sensations of a furry tongue. Others experienced unease at seeing a graceful item of the tea table transformed into something decadent and animalistic; some gagged at the thought of getting a hair or damp tea leaves in their mouth; still others wanted to stroke it.\u003c/p>\n\u003cp>Oppenheim’s friend and mentor Marcel Duchamp had achieved something similar in 1919, when he took a postcard picture of the Mona Lisa and crayoned a black mustache and beard on her smooth face. But while his hairy additions had a comical effect, Oppenheim’s were creepier, more visceral.\u003c/p>\n\u003cp>Among those impressed was Alfred J. Barr Jr., the young director of New York’s newly established Museum of Modern Art. When Oppenheim expressed a willingness to sell the work for a thousand French francs, he offered roughly half that amount, $50, and she agreed. Since this was the first work by a woman the museum acquired, Oppenheim is playfully called the First Lady of MoMA.\u003c/p>\n\u003cp>For Oppenheim, the unexpected success had mixed results. The fur cup became “her prison,” according to her niece, Lisa Wenger. The next year, having run out of funds – $50 didn’t last very long – and with the Nazis on the rise, Oppenheim went back to Switzerland. “She lives in Basel, bloody hates it,” Wenger said at a \u003ca href=\"https://www.youtube.com/watch?v=XShlnmkwbck\">talk\u003c/a> she gave at the 2013 Art Basel fair. “It was small compared to Paris, and conventional; people think she’s weird because she wears one green and one red stocking.”\u003c/p>\n\u003cp>It was the start of a 17-year-long depression, according to Wenger. Oppenheim was in any case vulnerable to bouts of anxiety and melancholy, and in the year before she created her fur cup, she had been sent by her doctor father to consult the great Carl Jung. His assessment, as he wrote to her father, was that Oppenheim reflected the “youthful disorientation of our era” and did not appear to have “any neurotic complication.”\u003c/p>\n\u003cp>As part of MoMA’s permanent collection, Oppenheim’s furry – if balding — ensemble continues to trigger reactions that are as intense as those elicited all those years ago in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11314054\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg\" alt=\"A picture of Meret Oppenheim's September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso's comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well\" width=\"960\" height=\"258\" class=\"size-full wp-image-11314054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-400x108.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-800x215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-768x206.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Meret Oppenheim’s September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso’s comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well \u003ccite>(Courtesy: Hans-Jörg Walter/Gems and Ladders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the art critic Will Gompertz writes in his 2012 book \u003cem>What Are You Looking At?,\u003c/em> “Two incompatible materials have been brought together to create one troubling vessel. Fur is pleasing to touch, but horrible when you put it in your mouth. You want to drink from the cup and eat from the spoon — that is their purpose — but the sensation of the fur is too repulsive. It’s a maddening cycle.”\u003c/p>\n\u003cp>At the MoMa, the sculpture is known by the unadorned title that Oppenheim gave it: \u003cem>Object \u003c/em>\u003cem> \u003c/em>\u003cem>—\u003c/em> not \u003cem>Luncheon in Fur,\u003c/em> which was the sensual name Breton chose. His idea was to reference not only Edouard Manet’s famous painting \u003cem>Le Déjeuner\u003c/em> \u003cem>sur l’herbe\u003c/em> (“\u003ca href=\"https://en.wikipedia.org/wiki/Le_D%C3%A9jeuner_sur_l%E2%80%99herbe\">The Luncheon on the Grass\u003c/a>“), but also, more cannily, \u003cem>Venus in Furs, \u003c/em>the 1870 sadomasochistic novella by the Austrian writer Leopold von Sacher-Masoch (whose surname is the root of the word masochistic).\u003c/p>\n\u003cp>Oppenheim, no prude by any standard, maintained that she had neither whips nor chains in mind when she was dressing up her tea things. All she had wanted was to take something familiar and make it strange.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fortunately, she didn’t design \u003cem>Object\u003c/em> today. It might have been called \u003cem>Fifty Shades of Earl Grey.\u003c/em> \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=%27Luncheon+In+Fur%27%3A+The+Surrealist+Teacup+That+Stirred+The+Art+World+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the world celebrates one hundred years of dadaism, it is worth looking at how this “anti-art” art movement that started in a café in Zurich during World War I resulted in an iconic artwork involving that most humble object of tableware: the teacup.\u003c/p>\n\u003cp>In 1936, a 23-year-old Swiss artist named Meret Oppenheim bought a teacup, saucer and spoon from a department store in Paris and wrapped them in the cream-and-tan pelt of a Chinese gazelle. Her hirsute little offering became a defining artifact of surrealism — the art movement that sprang from dadaism’s flamboyant entrails.\u003c/p>\n\u003cp>Part of the sculpture’s appeal lay in the conversation that led to its creation.\u003c/p>\n\u003cp>One day in 1936, Oppenheim met her friends Pablo Picasso and his new lover, Dora Maar, at the Café de Flore, the modish Paris coffeehouse that was a regular haunt of artists. Beautiful, witty and fiercely independent, Oppenheim had been living in Paris for the last four years. She had scarcely managed to sell her art, but made a modest income by designing jewelry and accessories for the trailblazing fashion designer Elsa Schiaparelli, known for her shoe-shaped hats and telephone-shaped purses. As part of the surrealist set, Oppenheim had posed nude for Man Ray’s camera and had recently ended a passionate yearlong love affair with the German painter Max Ernst, suddenly calling it off over lunch at a café.\u003c/p>\n\u003cp>Cafes would play an important role in her life. The story goes that at the Café de Flore, Picasso commented on Oppenheim’s bracelet – a broad round brass cuff wrapped in ocelot fur that she had designed the previous year for Schiaparelli. Picasso remarked that one could cover anything with fur. “Even this plate and this cup here,” Oppenheim replied. Then, when she found that her tea was cooling, she jokingly asked the waiter for “\u003cem>un peu plus de fourrure\u003c/em>” — or “a little more fur” — to swaddle her cup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shortly afterward, Oppenheim went to the department store in what would become the most famous shopping trip of her career. In her studio, she artfully wrapped the items in such a way that the tan formed a dark border around the teacup’s outer rim to match the saucer, while the body of the cup itself was offset in creamy white.\u003c/p>\n\u003cp>André Breton, the founder of surrealism, was enchanted. Here was an artwork that chimed with his declaration that “beauty will be convulsive or will not be at all.” He called it \u003cem>Le Déjeuner en fourrure\u003c/em> (\u003cem>L\u003c/em>\u003cem>uncheon\u003c/em>\u003cem> in Fur\u003c/em>, though in English it is also known as \u003cem>Breakfast in Fur\u003c/em>) and exhibited it that year at the first surrealist exhibition dedicated to objects.\u003c/p>\n\u003cp>As the talking point of the show, the sculpture became the receptacle of all kinds of theories, fears and longings. This being the age of Freud, a gastro-sexual interpretation was inescapable: the spoon was phallic, the cup vaginal, the hair pubic. For some, the tongue-shaped spoon brought to mind unpleasant sensations of a furry tongue. Others experienced unease at seeing a graceful item of the tea table transformed into something decadent and animalistic; some gagged at the thought of getting a hair or damp tea leaves in their mouth; still others wanted to stroke it.\u003c/p>\n\u003cp>Oppenheim’s friend and mentor Marcel Duchamp had achieved something similar in 1919, when he took a postcard picture of the Mona Lisa and crayoned a black mustache and beard on her smooth face. But while his hairy additions had a comical effect, Oppenheim’s were creepier, more visceral.\u003c/p>\n\u003cp>Among those impressed was Alfred J. Barr Jr., the young director of New York’s newly established Museum of Modern Art. When Oppenheim expressed a willingness to sell the work for a thousand French francs, he offered roughly half that amount, $50, and she agreed. Since this was the first work by a woman the museum acquired, Oppenheim is playfully called the First Lady of MoMA.\u003c/p>\n\u003cp>For Oppenheim, the unexpected success had mixed results. The fur cup became “her prison,” according to her niece, Lisa Wenger. The next year, having run out of funds – $50 didn’t last very long – and with the Nazis on the rise, Oppenheim went back to Switzerland. “She lives in Basel, bloody hates it,” Wenger said at a \u003ca href=\"https://www.youtube.com/watch?v=XShlnmkwbck\">talk\u003c/a> she gave at the 2013 Art Basel fair. “It was small compared to Paris, and conventional; people think she’s weird because she wears one green and one red stocking.”\u003c/p>\n\u003cp>It was the start of a 17-year-long depression, according to Wenger. Oppenheim was in any case vulnerable to bouts of anxiety and melancholy, and in the year before she created her fur cup, she had been sent by her doctor father to consult the great Carl Jung. His assessment, as he wrote to her father, was that Oppenheim reflected the “youthful disorientation of our era” and did not appear to have “any neurotic complication.”\u003c/p>\n\u003cp>As part of MoMA’s permanent collection, Oppenheim’s furry – if balding — ensemble continues to trigger reactions that are as intense as those elicited all those years ago in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11314054\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg\" alt=\"A picture of Meret Oppenheim's September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso's comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well\" width=\"960\" height=\"258\" class=\"size-full wp-image-11314054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-400x108.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-800x215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-768x206.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Meret Oppenheim’s September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso’s comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well \u003ccite>(Courtesy: Hans-Jörg Walter/Gems and Ladders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the art critic Will Gompertz writes in his 2012 book \u003cem>What Are You Looking At?,\u003c/em> “Two incompatible materials have been brought together to create one troubling vessel. Fur is pleasing to touch, but horrible when you put it in your mouth. You want to drink from the cup and eat from the spoon — that is their purpose — but the sensation of the fur is too repulsive. It’s a maddening cycle.”\u003c/p>\n\u003cp>At the MoMa, the sculpture is known by the unadorned title that Oppenheim gave it: \u003cem>Object \u003c/em>\u003cem> \u003c/em>\u003cem>—\u003c/em> not \u003cem>Luncheon in Fur,\u003c/em> which was the sensual name Breton chose. His idea was to reference not only Edouard Manet’s famous painting \u003cem>Le Déjeuner\u003c/em> \u003cem>sur l’herbe\u003c/em> (“\u003ca href=\"https://en.wikipedia.org/wiki/Le_D%C3%A9jeuner_sur_l%E2%80%99herbe\">The Luncheon on the Grass\u003c/a>“), but also, more cannily, \u003cem>Venus in Furs, \u003c/em>the 1870 sadomasochistic novella by the Austrian writer Leopold von Sacher-Masoch (whose surname is the root of the word masochistic).\u003c/p>\n\u003cp>Oppenheim, no prude by any standard, maintained that she had neither whips nor chains in mind when she was dressing up her tea things. All she had wanted was to take something familiar and make it strange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fortunately, she didn’t design \u003cem>Object\u003c/em> today. It might have been called \u003cem>Fifty Shades of Earl Grey.\u003c/em> \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=%27Luncheon+In+Fur%27%3A+The+Surrealist+Teacup+That+Stirred+The+Art+World+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes it’s better to leave more to the imagination.\u003c/p>\n\u003cp>That’s the thought I’m left with after watching all of the ads that aired in CBS’ Super Bowl broadcast Sunday night.\u003c/p>\n\u003cp>It may be an accepted truism that the commercials are often more exciting than the game. But this year, viewers watching for the ads sat through an uneven collection of spots — of which many of the best moments had already been revealed days earlier.\u003c/p>\n\u003cp>In years past, commercials like the Snickers spot inserting Willem Dafoe into Marilyn Monroe’s wardrobe malfunction in the \u003cem>Seven Year Itch\u003c/em> or the ad with Jeff Goldblum serenading George Washington and Lil’ Wayne for Apartments.com would have been standouts.\u003c/p>\n\u003cp>But these spots had already been featured in televised roundups and online platforms like YouTube days before the game. The media coverage may have spread word about the spots, but they also robbed viewers of the thrill that comes from being surprised by an inventive ad in the moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s my list of the best and worst commercial moments from the big game:\u003c/p>\n\u003cp>\u003cstrong>Best use of animals in a Super Bowl ad: Heinz “Weiner Stampede” and Honda “A New Truck to Love”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aNN9nL2vppM\u003c/p>\n\u003cp>My two favorite ads of the evening both featured animals in cool ways. Heinz had dogs dressed like hot dogs romping through a field to lick the faces of people dressed like a “family” of condiment bottles (kudos to whoever came up with using the soft rock hit \u003cem>Without You\u003c/em> to ramp up the sentiment). Honda also hit the cute animal chord with a spot featuring sheep singing Queen’s hit \u003cem>Somebody to Love\u003c/em>; they learned it courtesy of the farmer’s Ridgeline truck, which has a sound system in the rear bed blasting the song. Ample proof that ’70s rock paired with cute animals equals Super Bowl advertising gold.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kTaCT8ZmdJA\u003c/p>\n\u003cp>\u003cstrong>Best ad to turn a massive mistake into promotional success: T-Mobile “Drop the Balls”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eI8YZdejPKg\u003c/p>\n\u003cp>When Steve Harvey announced the wrong winner in the Miss Universe contest, he was lampooned so mercilessly it looked like a serious setback. But he’s rebounded with a Super Bowl commercial that features him “admitting” a different mistake: alleging Verizon used old data to misrepresent T-Mobile. It was the best lemons-to-lemonade transition since, well, Harvey made fun of himself by wishing fans on Instagram a Merry Easter … on Christmas Day.\u003c/p>\n\u003cp>\u003cstrong>Best use of former cast members of \u003cem>The Wire\u003c/em>: Toyota Prius “The Longest Chase” and “Hunters”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hRIRvluRYFM\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BGNahDImVhs\u003c/p>\n\u003cp>Toyota already had a winning concept when it aired two Super Bowl ads Sunday showing bank robbers successfully eluding police in a speeding Prius, until the cops gave up and turned a Prius of their own into a patrol car (take that, everyone who thinks hybrid cars are slow and can’t manage sharp turns). But eagle-eyed, pop culture-savvy fans could recognize three of the actors playing bank robbers — Chris Bauer, Pablo Schreiber and James Ransone — as the guys who played members of the dock-working Sobotka family in the second season of HBO’s classic crime drama \u003cem>The Wire\u003c/em>. Which adds an extra dose of TV cool to an already fun commercial.\u003c/p>\n\u003cp>\u003cstrong>Best way to introduce a bunch of new car features: Hyundai\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-R_483zeVF8\u003c/p>\n\u003cp>The carmaker used different ads strung throughout the Super Bowl to promote different features. For its Genesis sedan, an ad with comic Kevin Hart following his daughter on a date highlighted the “car finder” tracking feature; the Elantra’s remote start was featured in a spot with campers chased by bears. Another ad promoting the Elantra’s emergency braking system featured women driving through a neighborhood where everyone looked like film hunk Ryan Reynolds. It was an impressive stretch of spots, given that many advertisers couldn’t make even one Super Bowl commercial work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LT6n1HcJOio\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ih4VYnbm6Sw\u003c/p>\n\u003cp>\u003cstrong>Worst use of an earworm: Mountain Dew “Puppymonkeybaby.”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ql7uY36-LwA\u003c/p>\n\u003cp>It was a bizarre, unfunny and nonsensical ad promoting a drink that combines Mountain Dew, fruit juice and caffeine called Kickstart. But the worst thing about this ad is the horrific character that stars in the spot; an odd-looking creature that has a dog’s face, monkey’s tail and baby feet. It leads the guys in the commercial in a conga line set to a bouncing beat while it says the phrase “puppy monkey baby” over and over. Frankly, it’s the kind of nightmare you might expect to have after one too many cans of Mountain Dew Kickstart.\u003c/p>\n\u003cp>\u003cstrong>Worst reference to bodily functions: Xifaxan, OICisDifferent.com, Jublia\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Hnldf3z4bY\u003c/p>\n\u003cp>The Super Bowl is known for inspiring lots of eating and lavish spreads of food. So why would advertisers pay millions to air ads focusing on constipation, irritable bowel syndrome and toe fungus? OICisDifferent.com had a commercial on opioid-induced constipation, while the diarrhea relief medication Xifaxan created a spot with a pink intestine made of clay cheering in a stadium. And the toe fungus medication Jublia somehow convinced former NFL greats Howie Long, Deion Sanders and Phil Simms to appear in its ad. There may never be a great time to air ads like this, but to broadcast such spots in an event where viewers are eating stuff like guacamole dip and pizza surely is the worst.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yr78_7Kip3Q\u003c/p>\n\u003cp>\u003cstrong>Worst unintentional reference to the housing bubble and Great Recession: Quicken Loans\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QlRm6Y5iVfw\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a commercial that makes a powerful point, touting Quicken Loans Rocket Mortgage app as a way to make getting a home mortgage less intimidating and easier. But since the financial meltdown of the late 2000s involved the collapse of a housing market filled with too many questionable mortgages, the spot also has an uncomfortable resonance. And the commercial’s vision of a world made better through a rush of consumerism sparked by widespread homebuying was also a little off-putting. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+And+The+Worst+Of+Super+Bowl+Ads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes it’s better to leave more to the imagination.\u003c/p>\n\u003cp>That’s the thought I’m left with after watching all of the ads that aired in CBS’ Super Bowl broadcast Sunday night.\u003c/p>\n\u003cp>It may be an accepted truism that the commercials are often more exciting than the game. But this year, viewers watching for the ads sat through an uneven collection of spots — of which many of the best moments had already been revealed days earlier.\u003c/p>\n\u003cp>In years past, commercials like the Snickers spot inserting Willem Dafoe into Marilyn Monroe’s wardrobe malfunction in the \u003cem>Seven Year Itch\u003c/em> or the ad with Jeff Goldblum serenading George Washington and Lil’ Wayne for Apartments.com would have been standouts.\u003c/p>\n\u003cp>But these spots had already been featured in televised roundups and online platforms like YouTube days before the game. The media coverage may have spread word about the spots, but they also robbed viewers of the thrill that comes from being surprised by an inventive ad in the moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s my list of the best and worst commercial moments from the big game:\u003c/p>\n\u003cp>\u003cstrong>Best use of animals in a Super Bowl ad: Heinz “Weiner Stampede” and Honda “A New Truck to Love”\u003c/strong>\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/aNN9nL2vppM'\n title='//www.youtube.com/embed/aNN9nL2vppM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My two favorite ads of the evening both featured animals in cool ways. Heinz had dogs dressed like hot dogs romping through a field to lick the faces of people dressed like a “family” of condiment bottles (kudos to whoever came up with using the soft rock hit \u003cem>Without You\u003c/em> to ramp up the sentiment). Honda also hit the cute animal chord with a spot featuring sheep singing Queen’s hit \u003cem>Somebody to Love\u003c/em>; they learned it courtesy of the farmer’s Ridgeline truck, which has a sound system in the rear bed blasting the song. Ample proof that ’70s rock paired with cute animals equals Super Bowl advertising gold.\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/kTaCT8ZmdJA'\n title='//www.youtube.com/embed/kTaCT8ZmdJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best ad to turn a massive mistake into promotional success: T-Mobile “Drop the Balls”\u003c/strong>\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/eI8YZdejPKg'\n title='//www.youtube.com/embed/eI8YZdejPKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Steve Harvey announced the wrong winner in the Miss Universe contest, he was lampooned so mercilessly it looked like a serious setback. But he’s rebounded with a Super Bowl commercial that features him “admitting” a different mistake: alleging Verizon used old data to misrepresent T-Mobile. It was the best lemons-to-lemonade transition since, well, Harvey made fun of himself by wishing fans on Instagram a Merry Easter … on Christmas Day.\u003c/p>\n\u003cp>\u003cstrong>Best use of former cast members of \u003cem>The Wire\u003c/em>: Toyota Prius “The Longest Chase” and “Hunters”\u003c/strong>\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/hRIRvluRYFM'\n title='//www.youtube.com/embed/hRIRvluRYFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=BGNahDImVhs\u003c/p>\n\u003cp>Toyota already had a winning concept when it aired two Super Bowl ads Sunday showing bank robbers successfully eluding police in a speeding Prius, until the cops gave up and turned a Prius of their own into a patrol car (take that, everyone who thinks hybrid cars are slow and can’t manage sharp turns). But eagle-eyed, pop culture-savvy fans could recognize three of the actors playing bank robbers — Chris Bauer, Pablo Schreiber and James Ransone — as the guys who played members of the dock-working Sobotka family in the second season of HBO’s classic crime drama \u003cem>The Wire\u003c/em>. Which adds an extra dose of TV cool to an already fun commercial.\u003c/p>\n\u003cp>\u003cstrong>Best way to introduce a bunch of new car features: Hyundai\u003c/strong>\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/-R_483zeVF8'\n title='//www.youtube.com/embed/-R_483zeVF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The carmaker used different ads strung throughout the Super Bowl to promote different features. For its Genesis sedan, an ad with comic Kevin Hart following his daughter on a date highlighted the “car finder” tracking feature; the Elantra’s remote start was featured in a spot with campers chased by bears. Another ad promoting the Elantra’s emergency braking system featured women driving through a neighborhood where everyone looked like film hunk Ryan Reynolds. It was an impressive stretch of spots, given that many advertisers couldn’t make even one Super Bowl commercial work.\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/LT6n1HcJOio'\n title='//www.youtube.com/embed/LT6n1HcJOio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=Ih4VYnbm6Sw\u003c/p>\n\u003cp>\u003cstrong>Worst use of an earworm: Mountain Dew “Puppymonkeybaby.”\u003c/strong>\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/ql7uY36-LwA'\n title='//www.youtube.com/embed/ql7uY36-LwA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was a bizarre, unfunny and nonsensical ad promoting a drink that combines Mountain Dew, fruit juice and caffeine called Kickstart. But the worst thing about this ad is the horrific character that stars in the spot; an odd-looking creature that has a dog’s face, monkey’s tail and baby feet. It leads the guys in the commercial in a conga line set to a bouncing beat while it says the phrase “puppy monkey baby” over and over. Frankly, it’s the kind of nightmare you might expect to have after one too many cans of Mountain Dew Kickstart.\u003c/p>\n\u003cp>\u003cstrong>Worst reference to bodily functions: Xifaxan, OICisDifferent.com, Jublia\u003c/strong>\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/3Hnldf3z4bY'\n title='//www.youtube.com/embed/3Hnldf3z4bY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Super Bowl is known for inspiring lots of eating and lavish spreads of food. So why would advertisers pay millions to air ads focusing on constipation, irritable bowel syndrome and toe fungus? OICisDifferent.com had a commercial on opioid-induced constipation, while the diarrhea relief medication Xifaxan created a spot with a pink intestine made of clay cheering in a stadium. And the toe fungus medication Jublia somehow convinced former NFL greats Howie Long, Deion Sanders and Phil Simms to appear in its ad. There may never be a great time to air ads like this, but to broadcast such spots in an event where viewers are eating stuff like guacamole dip and pizza surely is the worst.\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/yr78_7Kip3Q'\n title='//www.youtube.com/embed/yr78_7Kip3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Worst unintentional reference to the housing bubble and Great Recession: Quicken Loans\u003c/strong>\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/QlRm6Y5iVfw'\n title='//www.youtube.com/embed/QlRm6Y5iVfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a commercial that makes a powerful point, touting Quicken Loans Rocket Mortgage app as a way to make getting a home mortgage less intimidating and easier. But since the financial meltdown of the late 2000s involved the collapse of a housing market filled with too many questionable mortgages, the spot also has an uncomfortable resonance. And the commercial’s vision of a world made better through a rush of consumerism sparked by widespread homebuying was also a little off-putting. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+And+The+Worst+Of+Super+Bowl+Ads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://abdulnassergharem.com/\" target=\"_blank\" rel=\"noopener\">Abdulnasser Gharem\u003c/a> doesn’t have the background you might expect for a successful artist – let alone one famous for edgy work from Saudi Arabia. He was once a lieutenant colonel in the Saudi army. He went to high school with two of the 9/11 hijackers.\u003c/p>\n\u003cp>But his first major art work sold for a whopping $842,500 at a Christie’s auction in Dubai. It’s\u003ca href=\"http://www.christies.com/lotfinder/installations-video-art/abdulnasser-gharem-messagemessenger-5422852-details.aspx\" target=\"_blank\" rel=\"noopener\"> a glittering dome\u003c/a> symbolizing the Dome of the Rock, set on its edge, capturing a dove.\u003c/p>\n\u003cp>In Saudi Arabia, a new generation of artists is pushing boundaries amid a growing art scene. Art galleries and daring visual artists, all unheard of just a few years ago, are thriving. Contemporary artists like Gharem have become a critical voice in the conservative kingdom, where open calls for reform are a criminal offense.\u003c/p>\n\u003cp>Gharem says he doesn’t care about fame. “I must focus on my own mission,” he says with an exasperated laugh at the suggestion that he is the highest selling artist in the region. “I want to play my own role in the society, which will make me happy, and I can see the result.”\u003c/p>\n\u003cp>In his busy Riyadh workshop, musicians play traditional music in the kitchen; a photographer is arranging images on a white wall in the next room. Here, Gharem, 41, gives young artists the help and guidance he never got.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was struggling as a kid, I want[ed] to see the museum, I want to see the real paintings, I want to talk to the artists, how they are thinking,” he says.\u003c/p>\n\u003cp>The Internet opened him to the larger art world as a young artist. He started an art foundation in 2013 with the money he earned from his first sale. Gharem took more than a dozen \u003ca href=\"http://www.npr.org/sections/parallels/2016/02/04/465574953/asiahouse.org/events/gharem-studio-presents-ricochet\" target=\"_blank\" rel=\"noopener\">young artists to London last year\u003c/a> to display their work, and this year, he and a group of young Saudi artists will launch an art tour across the U.S.\u003c/p>\n\u003cp>There is plenty of talent in Saudi Arabia, he says. “But the problem is they don’t know how to deal with it. They don’t have a strategy, they don’t have even the guidance, what to do? So, that’s my mission, you know.”\u003c/p>\n\u003cp>He aims to show Saudis how to see and how to think critically. He knows the dangers of extremism firsthand because of his high school classmates turned terrorists. He insists art is an answer, a way to pose sensitive questions about ideology and religion.\u003c/p>\n\u003cfigure id=\"attachment_11310420\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/img_2698edit_custom-4950da3518d0fa25d2efe72e6780b2f4589e01cd.jpg\" alt=\"The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education.\" width=\"200\" height=\"189\" class=\"size-full wp-image-11310420\">\u003cfigcaption class=\"wp-caption-text\">The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education. \u003ccite>(Photo: Deborah Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you’ll give them a space where at least they can speak freely — that’s the beginning, and I think that’s what’s missing in this country,” he says. “If you go to school, you cannot say what you want. If you go to mosque, you cannot say what you want [because of] family pressure, society pressure.”\u003c/p>\n\u003cp>In a free space, an artistic space, he says, “You will see how they became different.”\u003c/p>\n\u003cp>The art produced here is different. It’s a daring visual critique of Saudi culture.\u003c/p>\n\u003cp>Performance videos play on a TV at the workshop. One is a satire of Saudi Arabia’s ultra-religious culture, in which sketching human figures is forbidden: A group of solemn Saudi men sketch a plastic mannequin, a nude female. This act is so taboo in Saudi Arabia that the mannequin had to be shipped from Dubai and cut up into numbered pieces to get past Saudi customs officials.\u003c/p>\n\u003cp>The one woman at the workshop is Njoud Alanbari. Her art focuses on problems in female education. The government-approved posters found in public schools, which are mostly in pink, inspire her work. But the messages are harsh. “The colors are so twisted,” she says. The posters list “proper” behavior and include a long list of no’s.\u003c/p>\n\u003cp>“No music, no pornography, don’t travel,” Alanbari says, and raises an eyebrow. “Actually, as a kid, I didn’t know what pornography is.” The posters are in every public school. “It’s so intense,” she says. “It’s everywhere.”\u003c/p>\n\u003cp>A drawing of a sword underlines every “no.” Alanbari plays with these official images — in one instance, replacing a female silhouette with a monkey’s head, forcing a viewer to take a fresh look.\u003c/p>\n\u003cp>“You need someone to come and tell you, ‘Look at this,'” she says. “Because people are so used to it, it’s now common.”\u003c/p>\n\u003cp>Another performance video called “Traditional Pain Treatment” shows a fellow artist with a map of the Middle East inked across his back enduring traditional bloodletting via \u003ca href=\"http://www.bbc.com/news/health-32653971\">cupping\u003c/a>, with glass cups that are heated and placed on his skin. “So we said, we need to take the bad blood from all the countries – the bad ideology, the bad politics, the bad economics. Everywhere.”\u003c/p>\n\u003cp>Conceptual art is new in Saudi Arabia — a visual language that is easily understood by a young generation steeped in Internet culture, but flies just as easily past Saudi censors. Gharem and his band of young artists push the boundaries of critical speech now, not with words but with images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Visually, you can say it, because no one can accuse you with an image,” says Gharem. “But if you are going to write or text or say something, it’s easy to accuse you.” With a picture, he says, “If you don’t like it, you can put it down.” \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+New+Generation+Of+Saudi+Artists+Pushes+The+Boundaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://abdulnassergharem.com/\" target=\"_blank\" rel=\"noopener\">Abdulnasser Gharem\u003c/a> doesn’t have the background you might expect for a successful artist – let alone one famous for edgy work from Saudi Arabia. He was once a lieutenant colonel in the Saudi army. He went to high school with two of the 9/11 hijackers.\u003c/p>\n\u003cp>But his first major art work sold for a whopping $842,500 at a Christie’s auction in Dubai. It’s\u003ca href=\"http://www.christies.com/lotfinder/installations-video-art/abdulnasser-gharem-messagemessenger-5422852-details.aspx\" target=\"_blank\" rel=\"noopener\"> a glittering dome\u003c/a> symbolizing the Dome of the Rock, set on its edge, capturing a dove.\u003c/p>\n\u003cp>In Saudi Arabia, a new generation of artists is pushing boundaries amid a growing art scene. Art galleries and daring visual artists, all unheard of just a few years ago, are thriving. Contemporary artists like Gharem have become a critical voice in the conservative kingdom, where open calls for reform are a criminal offense.\u003c/p>\n\u003cp>Gharem says he doesn’t care about fame. “I must focus on my own mission,” he says with an exasperated laugh at the suggestion that he is the highest selling artist in the region. “I want to play my own role in the society, which will make me happy, and I can see the result.”\u003c/p>\n\u003cp>In his busy Riyadh workshop, musicians play traditional music in the kitchen; a photographer is arranging images on a white wall in the next room. Here, Gharem, 41, gives young artists the help and guidance he never got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I was struggling as a kid, I want[ed] to see the museum, I want to see the real paintings, I want to talk to the artists, how they are thinking,” he says.\u003c/p>\n\u003cp>The Internet opened him to the larger art world as a young artist. He started an art foundation in 2013 with the money he earned from his first sale. Gharem took more than a dozen \u003ca href=\"http://www.npr.org/sections/parallels/2016/02/04/465574953/asiahouse.org/events/gharem-studio-presents-ricochet\" target=\"_blank\" rel=\"noopener\">young artists to London last year\u003c/a> to display their work, and this year, he and a group of young Saudi artists will launch an art tour across the U.S.\u003c/p>\n\u003cp>There is plenty of talent in Saudi Arabia, he says. “But the problem is they don’t know how to deal with it. They don’t have a strategy, they don’t have even the guidance, what to do? So, that’s my mission, you know.”\u003c/p>\n\u003cp>He aims to show Saudis how to see and how to think critically. He knows the dangers of extremism firsthand because of his high school classmates turned terrorists. He insists art is an answer, a way to pose sensitive questions about ideology and religion.\u003c/p>\n\u003cfigure id=\"attachment_11310420\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/img_2698edit_custom-4950da3518d0fa25d2efe72e6780b2f4589e01cd.jpg\" alt=\"The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education.\" width=\"200\" height=\"189\" class=\"size-full wp-image-11310420\">\u003cfigcaption class=\"wp-caption-text\">The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education. \u003ccite>(Photo: Deborah Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you’ll give them a space where at least they can speak freely — that’s the beginning, and I think that’s what’s missing in this country,” he says. “If you go to school, you cannot say what you want. If you go to mosque, you cannot say what you want [because of] family pressure, society pressure.”\u003c/p>\n\u003cp>In a free space, an artistic space, he says, “You will see how they became different.”\u003c/p>\n\u003cp>The art produced here is different. It’s a daring visual critique of Saudi culture.\u003c/p>\n\u003cp>Performance videos play on a TV at the workshop. One is a satire of Saudi Arabia’s ultra-religious culture, in which sketching human figures is forbidden: A group of solemn Saudi men sketch a plastic mannequin, a nude female. This act is so taboo in Saudi Arabia that the mannequin had to be shipped from Dubai and cut up into numbered pieces to get past Saudi customs officials.\u003c/p>\n\u003cp>The one woman at the workshop is Njoud Alanbari. Her art focuses on problems in female education. The government-approved posters found in public schools, which are mostly in pink, inspire her work. But the messages are harsh. “The colors are so twisted,” she says. The posters list “proper” behavior and include a long list of no’s.\u003c/p>\n\u003cp>“No music, no pornography, don’t travel,” Alanbari says, and raises an eyebrow. “Actually, as a kid, I didn’t know what pornography is.” The posters are in every public school. “It’s so intense,” she says. “It’s everywhere.”\u003c/p>\n\u003cp>A drawing of a sword underlines every “no.” Alanbari plays with these official images — in one instance, replacing a female silhouette with a monkey’s head, forcing a viewer to take a fresh look.\u003c/p>\n\u003cp>“You need someone to come and tell you, ‘Look at this,'” she says. “Because people are so used to it, it’s now common.”\u003c/p>\n\u003cp>Another performance video called “Traditional Pain Treatment” shows a fellow artist with a map of the Middle East inked across his back enduring traditional bloodletting via \u003ca href=\"http://www.bbc.com/news/health-32653971\">cupping\u003c/a>, with glass cups that are heated and placed on his skin. “So we said, we need to take the bad blood from all the countries – the bad ideology, the bad politics, the bad economics. Everywhere.”\u003c/p>\n\u003cp>Conceptual art is new in Saudi Arabia — a visual language that is easily understood by a young generation steeped in Internet culture, but flies just as easily past Saudi censors. Gharem and his band of young artists push the boundaries of critical speech now, not with words but with images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Visually, you can say it, because no one can accuse you with an image,” says Gharem. “But if you are going to write or text or say something, it’s easy to accuse you.” With a picture, he says, “If you don’t like it, you can put it down.” \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+New+Generation+Of+Saudi+Artists+Pushes+The+Boundaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The opening vignette of \u003cem>In the Shadow of Women\u003c/em> shows a man in front of a wall, slightly off-center in the widescreen frame. Pierre (Stanislas Merhar) does little more than chew on a bite of sandwich for about a minute, an opening that suggests this will be one of those French films that takes its time in pondering the ordinariness of daily life.\u003c/p>\n\u003cp>It isn’t. Director Phillipe Garrel, who’s been making movies since the late 1960s, still favors the low-budget spontaneity of the early French New Wave. But he has a carefully constructed script this time, one that disassembles a marriage in about 70 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OiOnxv30iHk\u003c/p>\n\u003cp>Pierre is a documentary filmmaker who works with his wife, Manon (Clotilde Courau). Their apartment in north-central Paris is shabby, but beyond their means. The landlord arrives in the movie’s second scene, demanding back rent from Manon.\u003c/p>\n\u003cp>Yet Manon is happy to be working with Pierre, at the moment on a movie about a hero of the French Resistance, Henri (Jean Pommier). A couple that spends most of its waking hours in an editing room needn’t worry about a swanky place to dwell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The relationship is explained in terse, occasional voiceover by actor Louis Garrel, the director’s son. Also offering commentary is Manon’s mother (Antoinette Moya), who says she likes Pierre, but might like him better if he got a real job. Her questions give Manon a believable context in which to detail what’s so great about her filmmaker husband.\u003c/p>\n\u003cp>For Pierre — like Garrel, who shot \u003cem>Women\u003c/em> in black-and-white 35mm — film means celluloid. It’s at a picturesque archive, where movie cans are stored like bottles of fine wine, that the documentarian meets Elisabeth (Lena Paugam), a pretty but hardly glamorous grad student. They begin an affair.\u003c/p>\n\u003cp>Pierre demonstrates his form of gallantry by immediately telling Elisabeth that he’s married. But he doesn’t reveal anything to Manon. He’s shocked when she, intuiting the changed situation, takes a lover of her own. Interestingly, Pierre gets the news of Manon’s infidelity from Elisabeth. The wayward husband probably imagines that his relationship with Elisabeth, which consists of little more than sex, is simple. But jealousy is complicated.\u003c/p>\n\u003cp>This concise tale was scripted by the director and three others, including Jean-Claude Carriere, whose signature is on many literary international productions (including \u003cem>The Tin Drum\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>) that are far better known than any of Garrel’s efforts. While the screenplay is solid, parts of its story are underdeveloped. Notably, the writers don’t make much of an intriguing parallel between Pierre and Henri. Acknowledging the two men’s similar characters could have rendered the movie both more playful and more profound.\u003c/p>\n\u003cp>What distinguishes \u003cem>In the Shadow of Women\u003c/em> are its naturalistic performances — especially Courau’s — and its elegantly composed shots and offhand rhythm. The narrative cadence is accented by infrequent use of Jean-Louis Aubert’s modern chamber-music score.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film also has a strong sense of place, in part because it shows so little sense of its era. Viewers may be surprised when Elisabeth pulls out a mobile phone, the first concrete detail to place the action in contemporary times. The movie is on set on streets that may not be mean, but are certainly ungentrified. Their existence is proof that, as a cinematic location that evokes bohemian urbanity, Paris will always have us.\u003c/p>\n\n",
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"content": "\u003cp>“What the hell did I do? Killed them all, of course.”\u003c/p>\n\u003cp>These words, muttered by New York real estate heir and suspected serial killer Robert Durst in the finale of HBO’s documentary series \u003cem>The Jinx\u003c/em>, sent chills down the spines of viewers and put Durst back in the spotlight.\u003c/p>\n\u003cp>Now Durst, 72, could spend the next seven years in prison — but not for murder. He pleaded guilty to a weapons charge Wednesday in New Orleans and accepted a sentence of seven years and one month in prison. Durst is expected to go on trial on murder charges this summer in California.\u003c/p>\n\u003cp>Durst, whose life was the subject of the HBO series, pleaded guilty \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/15/393168862/robert-durst-subject-of-hbos-the-jinx-arrested-in-new-orleans\">nearly a year after he was arrested\u003c/a> in New Orleans for illegally carrying a .38-caliber revolver. U.S. District Judge Kurt Engelhardt said he would provisionally accept the plea and, The Associated Press reports, “make a final decision after he receives a pre-sentencing report expected in two weeks.” The maximum penalty Durst could face is 10 years in prison and a $250,000 fine.\u003c/p>\n\u003cp>As NPR has reported, Durst has waived extradition to Los Angeles to stand trial for the 2000 murder of his friend Susan Berman. Durst is suspected of killing her because he feared Berman could connect him to the disappearance of his first wife in 1982.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Durst’s longtime lawyer — who successfully defended Durst in 2003 after his client admitted killing and dismembering a neighbor in self-defense — says the California case will be challenging.\u003c/p>\n\u003cp>“I’ve had a lot of hard cases. I enjoy hard cases. But, yes, this one is tough,” \u003ca href=\"http://www.npr.org/2016/02/03/465321348/robert-dursts-attorney-heirs-latest-legal-troubles-are-tough\">attorney Dick DeGuerin said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jinx\u003c/em> brought renewed scrutiny to the deaths in which Durst was implicated. But \u003ca href=\"http://www.nytimes.com/2015/03/16/nyregion/robert-durst-subject-of-hbo-documentary-on-unsolved-killings-is-arrested.html?_r=0\">The New York Times reports\u003c/a> that more than two years have passed between when the filmmakers interviewed Durst and when they realized Durst’s private muttering was caught on tape, and that it’s unclear whether it will be admissible in court. \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=Robert+Durst+Pleads+Guilty+To+Gun+Charge%2C+Accepts+7-Year+Sentence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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